Public Art Review issue 25 - 2001 (fall/winter) by forecastpublicart

PublicArtReview NUTS AND BOLTS

11:

1 VOLUME

NUMBER 1 ISSUE

7.50

FALL . W T R

FOREWORD Andrea Weiss Managing Editor

Nuts

and bolls, n. (1967):

1: the working parts or elements

machine or enterprise as opposed to theoretical

considerations

2: the practical workings or speculative

of a

possibilities.

— M e r r i a m W e b s t e r ' s C o l l e g i a t e D i c t i o n a r y , 10th ed.

ANY ISSUES O F P U B L I C A R T R E V I E W F O C U S O N T H E M E S T H A T HAVE I N S P I R E D A P A R T I C U L A R

k i n d o f p u b l i c art. In t h e r e c e n t past w e h a v e c o n s i d e r e d t i m e , s o u n d , n a t u r e , a n d . crafts, a n d t h e i r i n f l u e n c e o n t h o s e w h o c r e a t e art in t h e p u b l i c r e a l m . T h i s c u r r e n t

issue is a b i t d i f f e r e n t , a n d , w e t h i n k , l o n g o v e r d u e . I n PAR 2 5 w e give v o i c e t o t h e processes, p o l i cies, a n d especially t h e p e o p l e — t h e p u b l i c art a d m i n i s t r a t o r s a n d f a c i l i t a t o r s — w h o s e sweat a n d

b l o o d is n e v e r visible o n t h e c o m p l e t e d c o m m u n i t y m u r a l o r t h e p e r c e n t - f o r - a r t s c u l p t u r e , b u t w h o s e k n o w l e d g e , p e r s i s t e n c e , a n d a b s o r p t i o n in t h e e n t e r p r i s e o f p u b l i c a r t - m a k i n g are i n e x t r i c a b l y t i e d t o t h e f i n i s h e d w o r k , PAR 2 5 f o c u s e s in o n t h e p r e o c c u p a t i o n s o t t h e n u t s a n d b o l t s m e n a n d w o m e n o f p u b l i c art. R e a d i n g t h r o u g h t h e f o u r features w e have p u t t o g e t h e r to e x p l o r e this t h e m e , I a m s t r u c k b y h o w e a c h b e g i n s w i t h a r e f e r e n c e , in s o m e w a y o r a n o t h e r , t o t h e early years o f p u b l i c art's o r i g i n s as an " o f f i c i a l " field in t h e U n i t e d States. O f c o u r s e , P h i l i p P r e g i l l , R i c a r d o B a r r e t o , W i l l i a m C l e v e l a n d , a n d T o m F i n k e l p e a r l all m a k e this r e f e r e n c e in o r d e r t o a c k n o w l e d g e t h e c h a n g e t h e f i e l d has u n d e r g o n e , a n d c o n t i n u e s t o u n d e r g o , i n a relatively s h o r t p e r i o d o f t i m e . B u t it is i n t e r e s t i n g , n e v e r t h e l e s s , t o t a k e a l o o k at e x a c t l y h o w t h e s e b e g i n n i n g s m a n i f e s t e d t h e m s e l v e s , p a r t i c u l a r l y i n t e r m s o f t h e role o f t h e p u b l i c art a d m i n i s t r a t o r . M y d i c t i o n a r y tells m e t h a t t h e t e r m " n u t s a n d b o l t s " o r i g i n a t e d in

1967.

N i n e t e e n s i x t y - s e v e n w a s also close t o year o n e in t h e c h r o n o l o g y o f p u b l i c art's r e b i r t h in this c o u n t r y . In t h e s u m m e r o f 1 9 6 7 , t h e " C h i c a g o P i c a s s o " w a s u n v e i l e d a n d t h e NEA c r e a t e d t h e A r t in P u b l i c P l a c e s P r o g r a m , t h e first c o m m i s s i o n f o r w h i c h w a s A l e x a n d e r C a l d e r ' s

Grande Vitesse, o u t s i d e t h e civic c e n t e r i n G r a n d R a p i d s , M i c h i g a n . As T o m F i n k e l p e a r l n o t e s in t h e i n t r o d u c t i o n t o Dialogues

in Public Art, b o t h t h e Picasso a n d t h e C a l d e r " p o i n t t o t h e o v e r -

r i d i n g s t r e n g t h o f H i g h M o d e r n i s m in t h e early days o f t h e p u b l i c art m o v e m e n t . P u b l i c art s i m p l y m e a n t p l a c i n g l a r g e - s c a l e w o r k in o p e n plazas, m a r k i n g t h e m as ' u n i q u e , ' e v e n as t h e s t r a t e g y b e c a m e g e n e r i c . " B u t 1 9 6 7 also m a r k e d a y e a r o f r a c e r i o t s a n d u r b a n

environments

b l i g h t e d by h i g h c r i m e a n d c o r p o r a t e flight t o t h e s u b u r b s , a m o n g o t h e r w o e s . P l o p p i n g d o w n H i g h M o d e r n i s t a r t w o r k s was n o t a l o n g - l a s t i n g p a n a c e a . T h e business o f t h e p u b l i c art a d m i n i s t r a t o r s o o n b e c a m e i n f i n i t e l y m o r e c o m p l e x , w r a p p e d u p in n e w p e r c e n t - f o r - a r t m e a s ures, u r b a n r e n e w a l s , t h e h o p e s o f c r e a t i n g n o v e l o p p o r t u n i t i e s f o r artists, a n d t h e idea o f d e v e l o p i n g a n d h o n o r i n g c o m m u n i t y t h r o u g h p u b l i c a r t — a n idea s p u r r e d n o d o u b t by a n o t h e r s i g n i f i c a n t p u b l i c art d e v e l o p m e n t in 1 9 6 7 , t h e c r e a t i o n o n C h i c a g o ' s S o u t h S i d e o f t h e Wall of Respect

m u r a l b y a g r o u p o f A f r i c a n - A m e r i c a n artists a n d c o m m u n i t y m e m b e r s . In t h e w o r d s

o f M i c h a e l D. H a r r i s in Walls of Heritage,

Walls of Pride: African

American

Murals,

this w o r k ,

p a i n t e d w i t h o u t o f f i c i a l s p o n s o r s h i p o r a p p r o v a l , " r e v i t a l i z e d t h e m u r a l s m o v e m e n t in t h e c o u n t r y a n d i n s p i r e d o t h e r e t h n i c g r o u p s t o e r e c t m u r a l s f o r social c r i t i c i s m a n d p r o t e s t , o r t o celebrate their cultures." As y o u will r e a d i n t h e p a g e s o f PAR 2 5 , all o f t h e s e e l e m e n t s b o r n in 1 9 6 7 h a v e s y n t h e s i z e d i n t o t h e field o f p u b l i c art, h e l p i n g t r a n s f o r m it i n t o w h a t it is today. Please j o i n us in e x p l o r i n g t h e n u t s a n d b o l t s o f p u b l i c art i n 2 0 0 1 — t h e s h o p t a l k a b o u t issues r a n g i n g f r o m c o p y r i g h t s a n d m o r a l r i g h t s t o quality, t h e q u e s t f o r set s t a n d a r d s , t h e c o n c e r n f o r t h e artist a m i d s t t h e official m a c h i n e r y o f p u b l i c a r t - m a k i n g , a n d t h e e m e r g e n c e o f a n e w r e a l m w i t h i n public art, o n e William Cleveland dubs "arts-based c o m m u n i t y d e v e l o p m e n t . "

PublicArtReview NUTS AND BOLTS

features TRIALS AND T R I U M P H S

CAUGHT IN THE MIDDLE

SHOPTALK

Tom Finkelpearl 4

P U B L I C ART TODAY

Ricardo Barreto

ARTS-BASED COMMUNITY

DEVELOPMENT

William Cleveland

I I

SETTING STANDARDS?

Philip Pregill 24

project and conference

reviews, and

reports C O M P E L + PROVOKE

HAZARDOUS TRAIL TO A

ON THE FRONT LINE

N I N E T E E N T H INTERNATIONAL

LASTING LEGACY

SAN J O S E

S C U L P T U R E CONFERENCE

P U B L I C ART 2 0 0 1

Greg Esser 29

Berin Golonu 34

Jack Becker 40

MaryAltman

FEDERICA MATTA LE VOYAGE D E LA S I R E N E

Joan Simon 37

book reviews and MURALS: THE GREAT

FORECAST UPDATE

W A L L S OF J O L I E T

c o m p i l e d b y FORECAST s t a f f 4 3

updates

Rebecca R y a n 42 44

listings

FORECAST board of directors

acknowledgments

PUBLIC ART REVIEW

VOLUME 13, NUMBER I

1 0 4 0 - 2 1 l x ) is p u b l i s h e d s e m i a n n u -

D a v i d Allen, E l i z a b e t h C h i l d s ,

S u p p o r t f o r Public Art Review

ally by FORECAST P u b l i c A r t w o r k s ,

C a r o l Daly. R e g i n a F l a n a g a n .

from t h e M c K n i g h t F o u n d a t i o n

2 3 2 4 U n i v e r s i t y Ave. W „ S u i t e 102,

Moira Harris, J i m J o h n s o n .

and the National E n d o w m e n t for

St. Paul, MN 5 5 1 1 4 USA.Tel: 6 5 1 -

Robert Lunning.John Roth.

t h e Arts.

6 4 1 - 1 1 2 8 ; MN R e l a y Service:

J o n S c h o o n m a k e r , S t a n t o n Sears,

1 - 8 0 0 - 6 2 7 - 3 5 2 9 fax: 6 5 1 - 6 4 1 - 0 0 2 8 ;

A n n Viitala, E m i l y W a d s w o r t h ,

managing editor . A n d r e a Weiss

e-mail: publicartreview@visi.com;

Laura W e b e r , a n d Shelly Willis

FORECAST program assistant &

W e b site: p u b l i c a r t r e v i e w . o r g .

publisher . FORECAST Public A r t w o r k s FORECAST managing director & designer . Paula Justich

copy editor . R e b e c c a Ryan FORECAST artistic director . Jack B e c k e r

(ISSN:

A n n u a l s u b s c r i p t i o n rates are US $17. C a n a d a / M e x i c o $23, and overseas $ 2 8 . Public Art Review is n o t responsible tor unsolicited material.

cover . see page 49

Please s e n d SASE w i t h material requiring return. Opinions

expressed a n d validity o f i n f o r m a t i o n h e r e i n are t h e responsibility o f t h e a u t h o r , n o t FORECAST, a n d FORECAST disclaims any claims m a d e by advertisers a n d f o r i m a g e s r e p r o d u c e d by advertisers.

F O R E C A S T Public

Artworks

Public Art Review is i n d e x e d by Art I n d e x .

PUBLIC ART REVIEW a d v i s o r s

J e r r y Allen, P e n n y B a l k i n B a c h , C a t h e y Billian. R a v e e v a r n C h o k s o m b a t c h a i , Fuller C o w l e s , Jessica C u s i c k , A m a n d a D e g e n e r , G r e g Esser, T h o m a s Fisher, R e g i n a Flanagan, G r e t c h e n F r e e m a n , Barbara Goldstein, G l e n n Harper, M a g s H a r r i e s , Y o k o Hayashi,

comes

NATIONAL ENDOWMENT FOR THE ARTS

A d d i t i o n a l f u n d i n g f o r FORECAST is p r o v i d e d b y t h e M i n n e s o t a State Arts B o a r d t h r o u g h an a p p r o p r i a t i o n f r o m t h e M i n n e s o t a State Legislature a n d a g r a n t b y t h e NEA, G e n e r a l Mills F o u n d a t i o n , J e r o m e F o u n d a t i o n , COMPAS G e n e r a l Fund, and the individual supporters o f FORECAST.

Mary Jane Jacob. Mark Johnstone, S u z a n n e Lacy. D o n a l d M c N e i l ,

postmaster: S e n d c h a n g e o f

Susan K. N i c h o l s , Patricia Phillips,

address t o Public Art

Joyce Pomeroy-Schwartz, Philip

2 3 2 4 U n i v e r s i t y Ave. W „ Ste. 102,

Pregill, and H a f t h o r Y n g v a s o n

St. Paul, MN 5 5 1 1 4 USA

Review,

CAUGHT IN THE MIDDLE

Tom

Finkelpearl

~T~ HY IS IT T H A T SOME ARTISTS A R E ABLE T O EXPAND T H E I R PUBLIC P R O J E C T S I N T O I ' R O M I -

\ V

/ n e n t sites, d r a w i n g u p o n t h e c o n s t r u c t i o n b u d g e t , w h i l e o t h e r s h a v e V

their

b u d g e t s s q u e e z e d a n d their w o r k relegated to an o b s c u r e location? W h y

s o m e w o r k s r e m o v e d at t h e first h i n t o f c o n t r o v e r s y w h i l e o t h e r s w e a t h e r t h e W h o are t h e p o w e r players in p u b l i c art, a n d h o w d o t h e y m a i n t a i n

are

storm?

control?

O f f i c i a l p u b l i c art w a s r e b o r n in t h e U n i t e d States in t h e 1 9 7 0 s 1980s t h r o u g h p e r c e n t - f o r - a r t ordinances that g r e w o u t of a political a n d

and

economic

d e v e l o p m e n t process. T h e s e n e w laws gave artists a legally m a n d a t e d a v e n u e i n t o

the

design of public buildings. W h i l e the p r o c e d u r e s for public art projects are carefully w r i t t e n t o i n s u r e a certain d e g r e e o f c o o p e r a t i o n b e t w e e n t h e artist, architect, a n d "client agencies," the implementation

o f t h e s e p r o c e d u r e s is b a s e d u p o n

interpretations by certain individuals. Before entering g o v e r n m e n t

I assumed

t h i n g w o u l d b e " b y t h e b o o k , " b u t in six y e a r s o t r u n n i n g t h e p e r c e n t - f o r - a r t i n N e w Y o r k C i t y , I l e a r n e d t h a t everything

the

a series

every-

program

is o p e n t o i n t e r p r e t a t i o n , a n d t h a t a s e r i e s o f

interpersonal relationships, not written regulations, d e t e r m i n e s h o w projects proceed. I e x p e r i e n c e d v e r y little h a r d c o r e p o w e r , i n s t a n c e s in w h i c h legal a u t h o r i t y , c o n t r a c t u a l o b l i g a t i o n , o r p o l i t i c a l s t r e n g t h h e l d t h e day. M u c h

m o r e frequently I saw a delicate

negotiation b e t w e e n softer powers: appeals to " c o m m u n i t y s e n t i m e n t " w e i g h e d against e x p e d i e n c y to a schedule, the force of habit versus a fight against b o r e d o m ,

ingenious

reinterpretation o f rules versus bureaucratic rigidity. B u t m o s t importantly, 1 w i t n e s s e d t h e p o w e r o f p e r s o n a l persuasion, t h e f o r c e o f c h a r i s m a . Artists, architects, b u r e a u c r a t s , a n d politicians w e r e m o s t successful in realizing t h e i r plans o v e r t h e o b j e c t i o n s o f o t h ers by a s s u a g i n g w o r r i e s , r e s h a p i n g t h e t e r m s ot t h e a r g u m e n t , e n l i s t i n g

unorthodox

allies, a n d c o n v i n c i n g t h e i r o p p o n e n t s t o c h a n g e t h e i r m i n d s t h r o u g h g e n t l e s e d u c t i o n . In p u b l i c c o m m i s s i o n s , artists o f t e n f i n d t h e m s e l v e s in u n e n v i a b l e p o s i tions. T h e r e are t h r e e p r i m a r y forces that pull artists in d i f f e r e n t d i r e c t i o n s : " c o m m u n i t y " c o n c e r n s , t h e architect's aesthetic a n d practical goals, a n d t h e art w o r l d ' s a g e n d a . In s o m e c a s e s , e a c h o f t h e s e f o r c e s is a t o d d s w i t h t h e a r t i s t . A f o u r t h f o r c e is t h e

commis-

( b a c k g r o u n d ) Federal Plaza, after

sioning agency, the bureaucrats and project managers w h o

removal of Richard Serra's Tilted

a l t h o u g h they o f t e n d o n o t have an explicit a g e n d a a n d serve an i n t e r m e d i a r y role.

Arc, N e w York City, N.Y., 1989. N o amount of high-ranking art

In m o s t p e r c e n t - f o r - a r t p r o g r a m s

in t h e

control the purse

United

strings,

States, artists

are

world pressure could save Tilted Arc

selected for public commissions by a panel that includes representatives f r o m t h e local

from removal. A mixture of art

c o m m u n i t y , arts professionals, p u b l i c officials, a n d in s o m e cases t h e a r c h i t e c t o f t h e

world, legal, and political power

facility in q u e s t i o n . T h e artist s e l e c t i o n process usually favors w e l l - k n o w n

was needed. Photo by Tom Finkelpearl

(i.e. a r t -

w o r l d - e n d o r s e d ) a r t i s t s b e c a u s e t h e a r t s p r o f e s s i o n a l s w h o sit o n s e l e c t i o n p a n e l s g e n e r ally o u t n u m b e r o r o u t t a l k t h e c o m m u n i t y r e p r e s e n t a t i v e s , a n d t h e i r tastes a r e

tied

(inset) Tom Otterness,

c l o s e l y t o t h e p r e v a i l i n g a g e n d a o f t h e a r t w o r l d . Y e t t h i s is n o t a l w a y s t h e c a s e , a n d i n

The New World, GSA Commission,

fact, m a n y in t h e art w o r l d w o n d e r w h y artists w h o are " o f f t h e list" g e t c o m m i s s i o n s at

Federal Court Plaza, Los Angeles,

Calif., 1982-1991.

all. T h e y t e n d t o b e l i e v e t h i s r e f l e c t s a l a c k o f " q u a l i t y " as t h e g u i d i n g c r i t e r i o n i n t h e

Photo byTomVinetz

public art selection process.

P u b l i c Art R e v i e w . FALL.WTR.OI

with

which

their

projects

are

examined. While

the

u n d e r l y i n g social, aesthetic, a n d e t h n i c a s s u m p t i o n s the architect quently

a r e r a r e l y q u e s t i o n e d , t h e a r t i s t is f r e -

questioned

at g r e a t l e n g t h

about

content. A

n o n e x p e r t rarely f o r m s a conscious o p i n i o n a b o u t

the

architectural

her

interventions

that manipulate

his o r

walk t h r o u g h a plaza to t h e place in f r o n t o f a w o r k a r t , y e t it is e q u a l l y r a r e t h a t t h e s a m e n o n e x p e r t

would

d e m u r e i n e x p r e s s i n g a n o p i n i o n a b o u t t h e a r t . T h u s , as R i c h a r d S e r r a ' s Tilted provocative

Arc

artwork

proved beyond any doubt, a

will always c o m e

under

intense

s c r u t i n y w h i l e t h e o p p r e s s i v e b a n a l i t y o f its s e t t i n g is often rendered

r r r r r n j L

invisible. T h e role o f t h e artist in t h e design

t h e space, his o r h e r r e l a t i o n s h i p w i t h t h e a r c h i t e c t

and

w i t h t h e public that will use t h e s p a c e â&#x20AC;&#x201D; n o n e o f these essential issues are clearly d e f i n e d o r c o n s i s t e n t l y

inter-

p r e t e d in public art c o m m i s s i o n s . I n e x p e r i e n c e d

artists

are

not

equipped

with

the

knowledge

necessary

u n d e r s t a n d h o w t h e o p e r a t i o n really w o r k s . T h e y d o n o t k n o w w h a t t h e y are e n t i t l e d t o aside f r o m t h e i r set f e e â&#x20AC;&#x201D; like f o u n d a t i o n s for their w o r k , specially d e s i g n e d lighting, s o m e

aesthetic

control

in t h e e n v i r o n m e n t

that

s u r r o u n d s t h e i r w o r k â&#x20AC;&#x201D; a l l o f w h i c h m a y b e in t h e a r c h i tect's c o n t r a c t . O f c o u r s e a d m i n i s t r a t o r s let artists k n o w w h a t t h e y c a n a s k f o r , b u t a t h o r o u g h i d e a o f w h a t is possible o n l y c o n i e s w i t h e x p e r i e n c e . O f t e n , I saw artists gain p o w e r in public commissions

by j o i n i n g

forces

Siah Armajani, in collaboration with Scott Burton and Cesar Pelli,

either w i t h the architect, the agency f u n d i n g the project,

the marina at the W o r l d Financial Center, N e w York, N.Y., 1989.

o r t h e c o m m u n i t y r e p r e s e n t a t i v e s . W h e n t h e a r c h i t e c t is

This collaboration at Battery Park City was one of the most

s y m p a t h e t i c w i t h t h e goals o f t h e artist o r likes his o r h e r

ambitious and high-profile design team projects in N e w York.

w o r k , h e can o p e n u p t r e m e n d o u s possibilities for c o l -

Photo by Joyce Pomeroy Schwartz, W o r k s of A r t

laboration; everything f r o m elements of the layout of the building After

the

selection

pleted, the designated c o m m u n i t y

process

com-

representatives

fre-

q u e n t l y f e e l t h a t t h e a r t i s t is n o t r e s p o n s i v e e n o u g h their (often conservative)

a e s t h e t i c tastes. T h e

artist's

lighting,

and

landscaping

can

b e c o m e p a r t o f t h e artist's p u r v i e w . If t h e a r c h i t e c t feels b u r d e n e d by t h e p r e s e n c e o f t h e artist, h e will s e e k

m i n i m i z e t h e artistic i n p u t in t h e p r o j e c t o r try to e l i m i n a t e t h e artist a l t o g e t h e r . If t h e artist has g a i n e d

com-

f r i e n d s exist in a n o t h e r c o n t e x t , a n d t h e y o f t e n b e l i e v e

m u n i t y or a g e n c y s u p p o r t , h e or she can use this against

t h e a r t i s t is s t r a y i n g t o o f a r f r o m h e r o r h i s " r e a l " w o r k i n

t h e a r c h i t e c t , o v e r r u l i n g h i m . B u t as i n r e a l i t y T V , t h e

order to comply with the commission's conditions.

artist m u s t f i n d allies o r b e v o t e d o f f t h e set.

m a n y c a s e s , t h e a r c h i t e c t f e e l s t h a t t h e a r t i s t is i n t r u d i n g 06

finishes,

o n h i s t e r r i t o r y . (I u s e t h e p r o n o u n " h i s " t o r e f e r t o t h e a r c h i t e c t b e c a u s e it is still a n o v e r w h e l m i n g l y

white,

One

of the most celebrated

develop-

m e n t s i n t h e f i e l d o f p u b l i c a r t i n t h e last t w o d e c a d e s is t h e " d e s i g n t e a m . " I t h a s b e e n t o u t e d as a

democratic

m a l e p r o f e s s i o n . In N e w Y o r k , a r o u n d t h r e e o u t o f f o u r

w a y f o r t h e artist, architect, l a n d s c a p e a r c h i t e c t , a n d v a r -

commissions

ious

women

the

percent-for-art

program

a n d artists o f color. W h i l e a f f i r m a t i v e

policies diversified the architects w e w o r k e d

action

with

other

consultants

power

working

t o g e t h e r t o design an i n t e g r a t e d w h o l e . I n t h e o r y , this allows each of the designers to c o n t r i b u t e in diverse and

s o m e degree, a c o m m o n sight was an A f r i c a n - A m e r i c a n

u n e x p e c t e d ways, b l u r r i n g the b o u n d a r i e s b e t w e e n

f e m a l e artist w o r k i n g w i t h a w h i t e , m a l e architect.)

and

One

o f t h e m o s t frustrating aspects

t h e p u b l i c a r t p r o c e s s f o r a r t i s t s is t h e i n t e n s e

P u b l i c Art R e v i e w . FALL.WTR.OI

scrutiny

architecture, form

and function. However,

art

most

p u b l i c a r t d o e s not i n v o l v e a h i g h d e g r e e o f c o l l a b o r a t i o n between

artists a n d architects. In N e w Y o r k , w h e r e I

worked on around could

130 projects, perhaps a half d o z e n

q u a l i f y as d e s i g n

team

projects, and

from

a r t i s t is e n l i s t e d as a c o m p e n s a t o r y " t h e c o m m u n i t y . " It is a p o s i t i o n

gesture to

that artists hate, a n d

k n o w l e d g e o f o t h e r p r o g r a m s , this s e e m s a b o u t average.

o n e that generally creates friction with

I have seen n o e v i d e n c e that design t e a m projects are

who

uniformly m o r e appealing or provocative than

n e e d e d in f r o n t o f his b u i l d i n g .

projects

the

architect,

m i g h t n o t feel that any c o m p e n s a t o r y

g e s t u r e is

B u t there are o t h e r reasons for distrust

t h a t r e q u i r e less a m b i t i o u s c o l l a b o r a t i o n , a n d t h e p r o c e s s is u s u a l l y a m e s s ; c o n f l i c t a n d d e l a y a r e c o m m o n

byprod-

ucts. P e r h a p s m o s t i m p o r t a n t l y , s o m e artists p r e f e r

placate

b e t w e e n t h e artist a n d architect. A r t a n d a r c h i t e c t u r e are f u n d a m e n t a l l y different professions. T h e t w o g r o u p s talk differently, dress differently, live in d i f f e r e n t sorts

keep a distance. In

the

normal

buildings, and have a different relationship w i t h

money.

(without

design t e a m ) t h e artist, architect, a d m i n i s t r a t o r , a n d

W h i l e m a n y artists live a n d w o r k i n lofts, a r c h i t e c t s u s u -

discuss

a l l y l i v e i n a p a r t m e n t s a n d w o r k i n o f f i c e s . T h e a r t i s t is

t h e m e d i u m , c o n t e n t , a n d l o c a t i o n o f t h e a r t w o r k in a

self-employed, while the architect works for a firm, a

various points the c o m m u n i t y

scenario

representatives,

most

collective t h a t w o r k s f o r a " c l i e n t . " M o s t artists c o n s i d e r

sym-

$400,000 a big budget, while the sort of architect

series o f design d e v e l o p m e n t m e e t i n g s . O f t e n the p r o m i n e n t s p a c e in t h e b u i l d i n g in physical a n d

hired

b o l i c t e r m s is c o n s i d e r e d t h e i d e a l s i t e f o r t h e a r t , a n d

to build a city b u i l d i n g w o u l d consider $ 4 0 0 , 0 0 0 a tiny

t h i s c a n b e a c o n t e n t i o u s s i t u a t i o n . A f t e r all, t h e a r t i s t is

job.

The

artist's

contribution

chosen by a different panel f r o m the architect, and repre-

"amenity," while

sents a d i f f e r e n t set o f interests. In N e w Y o r k , in

j u d g e d largely in t e r m s o f use. T h e

some

the

architect's

often

product

seen is

essential,

a r c h i t e c t sees

the

community,"

a r t i s t as u n p r o f e s s i o n a l , w h i l e t h e a r t i s t s e e s t h e a r c h i t e c t

particularly in t e r m s o f race, to m a k e u p for the lack o f

as b u r e a u c r a t i c . T h e a r c h i t e c t e n v i e s t h e a r t i s t ' s f r e e d o m ,

r e p r e s e n t a t i o n e v e r y w h e r e else o n t h e p r o j e c t . In o t h e r

w h i l e t h e artist envies t h e architect's c o n t r o l . T h e s e

c a s e s , t h e a r t p r o j e c t is m e a n t t o m i t i g a t e a n

broad generalizations, b u t they are based o n

c a s e s t h e a r t i s t is s e e n as " r e p r e s e n t i n g t h e

construction

projectâ&#x20AC;&#x201D;like

the

unpopular

beautification

the

e x t e r i o r o f a sanitation facility that n o b o d y w a n t e d built in t h e i r c o m m u n i t y . In e i t h e r o f t h e s e s c e n a r i o s ,

the

are

experience,

and these differences can lead to conflict. C o n f l i c t s o f t e n arise in t h e

relationship

b e t w e e n t h e artist a n d t h e c o n t r a c t o r , t h e c o m p a n y

c h a r g e o f t h e c o n s t r u c t i o n project. T h e difficulty o f this Andrew Keating, Sherry Markowitz, Buster Simpson, Viewland Hoffman Substation, Seattle,Wash., 1979.

relationship m a y be m o r e intense in N e w York

City

Generally considered the first design team public art project.

b e c a u s e o f a set o f local laws, b u t t h e p r o b l e m s are fairly

Photo courtesy the Seattle Arts Commission

similar across t h e U n i t e d States, f r o m w h a t I h a v e h e a r d .

u n i o n , however, a deal can often b e w o r k e d o u t to allow t h e artist a n d his o r h e r c r e w t o install in a t i m e l y n e r w i t h o u t a n y hassle. E s t a b l i s h i n g a g o o d

man-

relationship

w i t h t h e c o n t r a c t o r a n d m a i n t a i n i n g it is y e t

another

p a r t o f t h e p u b l i c artist's j o b . It is i m p o r t a n t c u s s i n g potential

to n o t e that

I am

dis-

a r e a s o f c o n f l i c t . O f t e n , t h e r e is l i t t l e o r

n o c o n f l i c t . O n e o f t h e realities o f p u b l i c art, h o w e v e r , is t h a t a r t i s t s m u s t n a v i g a t e a c o u r s e b e t w e e n

different

worlds. Artists u n a b l e or u n w i l l i n g to create their in this e n v i r o n m e n t

work

usually retreat to the gallery

and

t h e m u s e u m w i t h a f e w b a t t l e scars. T h e d i s t r i b u t i o n power

that

I have been

describing involves the

core

g r o u p w o r k i n g o n t h e p r o j e c t â&#x20AC;&#x201D; a r c h i t e c t , artist, a d m i n istrator, a n d c o n t r a c t o r . H o w e v e r , s o m e t i m e s t h e to control

the work

o f a r t is a p p r o p r i a t e d

power people

o u t s i d e this c o r e g r o u p , particularly d u r i n g p u b l i c

art

controversies. T h e m a j o r i t y o f p u b l i c a r t w o r k s are

not

controversial. H o w e v e r , controversies are and

revealing

power

relations

interestingâ&#x20AC;&#x201D; contemporary

A m e r i c a n cities. Tom

Otterness

is a n

m a d e the transition f r o m w e l l - k n o w n

artist

who

has

gallery artist

l e a d i n g p u b l i c a r t i s t . It is i n t e r e s t i n g t o l o o k b a c k a t h i s first m a j o r p u b l i c c o m m i s s i o n

and the controversy

g e n e r a t e d . B o t h t h e artist a n d t h e a r t w o r k s u r v i v e d this controversy,

which

centered

sex.

1990,when

Otterness was invited by the General Services A d m i n i s t r a t i o n (GSA) t o c o m p e t e f o r a c o m m i s s i o n a t a

huge

g o v e r n m e n t b u i l d i n g in Los A n g e l e s , h e s u b m i t t e d

design for a frieze that h e h a d created e i g h t years earlier. T h e figures in t h e bas-relief frieze, n o w O t t e r n e s s ' s sig-

n a t u r e style, are o f t e n c o m p a r e d t o a n a t o m i c a l l y

correct

Tom Otterness, The New World,

Pillsbury D o u g h b o y s

actions

Federal C o u r t Plaza, Los Angeles, Calif., 1982-1991.

t h a t t h e f i g u r e s e n g a g e in are n o t always h u m o r o u s . D u r -

Photo by Tom Otterness

i n g t h e approval process, O t t e r n e s s a g r e e d to alter t h r e e

F i r s t a n d f o r e m o s t , t h e r e is t h e i s s u e o f u n i o n l a b o r a n d

o r f o u r o f this w o r k ' s m o s t explicit figures. H e

t h e p r o t e c t i o n o f j o b s o n a site. W h e n a n artist s h o w s u p

t o t h e m as t h r o w a w a y p i e c e s a n d t h e i r a l t e r a t i o n d i d n o t

o n a site w i t h his o r h e r crew, r e a d y t o p o u r c o n c r e t e , d o

compromise

e l e c t r i c a l w o r k , o r install glass, t h e y w i l l b e g r e e t e d w i t h

O t t e r n e s s ' s first l a r g e - s c a l e p u b l i c c o m m i s s i o n , a n d

t h e s a m e s o r t o f h o s t i l i t y as a n y o t h e r n o n u n i o n

was l e a r n i n g early the c o m p l e x i t i e s o f " t h e process." H e

work-

(and girls), a l t h o u g h t h e

his overall

sense of the w o r k . This

e r s â&#x20AC;&#x201D; s o m e t i m e s w i t h thinly veiled threats of violence.

w a s also e x h i b i t i n g t h e sort o f

T h e s o l u t i o n is e i t h e r t o i n s t a l l t h e a r t w o r k a f t e r t h e

h i m t o c o n t i n u e a n d t h r i v e as a p u b l i c a r t i s t . The

u n i o n s h a v e left t h e site, j u s t p r i o r t o t h e facility o p e n -

referred

flexibility

was he

that has a l l o w e d

federal building that

Otterness's

union,

w o r k a d o r n s is n a m e d f o r E d w a r d R . R o y b a l , a D e m o c -

o f t e n p a y i n g a u n i o n w o r k e r to " s u p e r v i s e " t h e installa-

r a t i c c o n g r e s s m a n f r o m C a l i f o r n i a w h o w a s c h a i r m a n of

tion o f t h e art. B o t h solutions are bad. W a i t i n g until t h e

a s u b c o m m i t t e e t h a t o v e r s e e s t h e GSA. S o R o y b a l

ing, or to w o r k o u t s o m e sort of deal w i t h the

had

e n d s o m e t i m e s m e a n s installing t h e art o u t o f t h e ideal

t w o s o r t s o f p o w e r o v e r t h e s i t e : it w a s i n h i s n a m e , a n d

s e q u e n c e . P a y i n g a u n i o n w o r k e r t o " s u p e r v i s e " is o f t e n

he had oversight of the agency that constructed

a w a s t e o f m o n e y b e c a u s e t h e w o r k e r s o n t h e site are

building and

s e l d o m e x p e r t s a t h a n d l i n g a r t . If t h e a r c h i t e c t a n d

the

1991, spurred on by some offended judges, Roybal stud-

city's p r o j e c t

the

ied

manager

P u b l i c A r t R e v i e w . FALL.WTR.OI

are

good

terms

with

the

maintains

sculpture

and

the

site. A f t e r i n s t a l l a t i o n

objected

two

parts of

the in

the

installed

complaint,

the

offending sculptures were removed. T h e sculptures

frieze. W i t h i n

hours

o f his

that

participation. Representatives from the American

Civil

Liberties U n i o n t o l d O t t e r n e s s t h a t this c o u l d b e a g o o d

R o y b a l o b j e c t e d t o w e r e t h e central i m a g e o f a b a b y girl

test case f o r t h e Visual Artists R i g h t s A c t o f 1 9 9 0 , b u t h e

h o l d i n g u p a g l o b e a n d an i m a g e o f a w o m a n

w a s less i n t e r e s t e d i n e n g a g i n g i n l e n g t h y l i t i g a t i o n

squatting.

A s w i t h all o f t h e o t h e r f i g u r e s i n t h e f r i e z e , t h e s e

two

female figures were anatomically correct and nude. T h e Los Angeles

Times

q u o t e d R o y b a l as c o m p l a i n i n g t h a t t h e

sculptures " . . . w o u l d attract the homeless that c o m e p e r v e r t s , graffiti artists, e v e r y t h i n g . "

in,

than

in f i n d i n g a solution. Otterness was receiving public

support

f r o m the Los Angeles City C o u n c i l a n d the mayor. At the same time, according to city council m e m b e r Joel Wachs, the attack o n the sculpture was n o t strong. R o y b a l was a

In contrast t o m a n y o t h e r controversies,

religious m a n w h o had been swayed by the sentiments o f

t h e r e was c o n s i d e r a b l e d i s a g r e e m e n t in t h e local politi-

the m o r e conservative R e p u b l i c a n - a p p o i n t e d judges and

cal c o m m u n i t y w i t h t h e d e c i s i o n t o r e m o v e t h e

a d m i n i s t r a t o r s a t GSA. 2 B u t , a c c o r d i n g t o W a c h s , h e

tures. Particularly vocal w e r e M a y o r T o m

sculp-

Bradley

was

and

n o t the sort of politician to take advantage o f a c o n t r o -

Both

versy f o r political gain. W h e n W a c h s r a n i n t o R o y b a l at a

called the removal of the sculptures a violation of the

political f u n c t i o n , h e told R o y b a l that O t t e r n e s s was a

artist's r i g h t s t o free e x p r e s s i o n . T h e arts

community,

" g r e a t artist," a n d that this w a s n o t t h e sort o f c o n t r o v e r s y

i n c l u d i n g A1 N o d e l , t h e h e a d o f t h e D e p a r t m e n t o f C u l -

t o b e c o m e e n m e s h e d in. A p p a r e n t l y R o y b a l a g r e e d . T h e

Los Angeles

city

council

m e m b e r Joel Wachs.

t u r a l A f f a i r s , w a s v o c a l i n O t t e r n e s s ' s s u p p o r t as w e l l , a l t h o u g h , as I e x p e r i e n c e d i n N e w Y o r k , t h e a r t w o r l d ' s o p i n i o n m e a n s little in isolation f r o m b r o a d e r

political

Tom Otterness, The New World, Federal C o u r t Plaza, Los Angeles, Calif., 1982-1991. Photo by Ruth Wallach, use

P u b l i c A r t R e v i e w . FALL.WTR.OI

GSA b e g a n t o l o o k for w h a t O t t e r n e s s c a l l e d a " f a c e - s a v -

r e q u i r e d . T h e r e m o v a l o f R i c h a r d S e r r a ' s Tilted

Arc

from

i n g w a y o u t " o f t h e s i t u a t i o n . A terse press release issued

N e w Y o r k C i t y ' s F e d e r a l P l a z a t a u g h t 11s h o w t h a t

con-

j o i n t l y b y T o m O t t e r n e s s a n d t h e GSA 011 D e c e m b e r

test w o u l d have e n d e d .

1 9 9 1 , s t a t e d t h a t , "GSA a n d O t t e r n e s s w i l l b e

13,

exploring

p o t e n t i a l site e n h a n c e m e n t s f o r t h e t w o b r o n z e

compo-

O t t e r n e s s ' s s c u l p t u r e p r o g r a m is i n t a c t in Los A n g e l e s t o d a y b e c a u s e o f a series o f

personal

n e n t s ot the w o r k to m i n i m i z e the possibility o f vandal-

d e c i s i o n s â&#x20AC;&#x201D; O t t e r n e s s d e c i d i n g n o t t o g o t h e legal r o u t e ,

ism. B o t h parties are c o n f i d e n t that t h e installation will

Wachs sticking u p for Otterness, R o y b a l declining to get

b e c o m p l e t e d shortly."

e n m e s h e d i n a c o n t r o v e r s y . W h e t h e r o r n o t t h e GSA h a d

O f c o u r s e this press release

completely

s i d e s t e p p e d t h e issue. N o a t t e m p t w a s m a d e t o

a d e a c c e s s i o n i n g p o l i c y is i r r e l e v a n t .

address

T h e c o m p r o m i s e s o f p u b l i c art are u n f a -

t h e s e x u a l issues t h a t o f f e n d e d R o y b a l a n d t h e j u d g e s in

miliar to m o s t artists.The learning process can be painful,

t h e first place. Instead, t h e issue w a s s i m p l y

b u t t h e r e w a r d s great, a n d f o r t h e r i g h t artist a n d a d m i n -

f r o m obscenity to vandalism. T h e

deflectedâ&#x20AC;&#x201D;

release also

falsely

istrator the process can be educational a n d even amusing.

states that t h e installation h a d n o t b e e n c o m p l e t e d . T h i s

D e v e l o p i n g a n d m a i n t a i n i n g a l l i a n c e s is t h e k e y t o p o w e r

classic p o l i t i c a l m a n e u v e r c r e a t e d a s i t u a t i o n in

in p u b l i c art, w h e t h e r t h e y b e w i t h an architect, c o m m u -

which

t h e p r o b l e m c o u l d b e s o l v e d e a s i l y : all t h e a g e n c y t h e artist n e e d e d t o d o was t o solve t h e t e c h n i c a l

and

nity representative, contractor, or politician.

prob-

lems of vandalism a n d their w o r r i e s w o u l d b e over. For

Tom Finkelpearl is the Deputy Director of P.S.I Contemporary A r t Center

a n y o n e versed w i t h the political process, the opacity

in N e w York and is the author of Dialogues in Public Art.

t h e press release i n d i c a t e d that substantial

negotiations

w e r e u n d e r way. In the end, b o t h figures w e r e reinstalled unaltered, and Otterness was given a n e w budget

design a "protective fence" around the central fountain, permanently

keeping

the

fictional

vandals

T h r o u g h o u t the controversy Otterness exhibited

2. F r o m a t e l e p h o n e i n t e r v i e w w i t h

1. L a u r i e B e c k l u n d , " G S A Pulls

Wachs, D e c e m b e r 20, 1997. His

N u d e Art F r o m Federal B u i l d i n g , "

basic a c c o u n t o f t h e events was c o r -

Los Angeles Times, D e c e m b e r 4,

r o b o r a t e d in an i n t e r v i e w w i t h

1991, B 4 .

a n o t h e r p e r s o n close t o t h e events.

bay. flexi-

bility a n d d e c l i n e d to get e m b r o i l e d in the direct contest for a u t h o r i t y over t h e plaza that a lawsuit w o u l d

Notes:

have

Tom Otterness, The New World, Federal Court Plaza, Los Angeles. Calif., 1982-1991. Photo byTomVinetz

SHOPTALK PUBLIC ART TODAY

Ricardo Barreto

E F I N E D AS A D I S T I N C T A R E A O F P R O F E S S I O N A L A C T I V I T Y O N L Y T W E N T Y - F I V E T O T H I R T Y Y E A R S

a g o , t h e f i e l d o f p u b l i c art has e x p e r i e n c e d c o n s t a n t e v o l u t i o n t h a t , if a n y t h i n g ,

s e e m s t o b e a c c e l e r a t i n g . T h i s is d u e p a r t l y t o t h e i m p a c t o f t e c h n o l o g y a n d i t s

e f f e c t n o t o n l y o n p u b l i c a r t b u t o n all p r o f e s s i o n a l a c t i v i t y . E q u a l l y s i g n i f i c a n t , t h e n u m b e r o f professionals d e d i c a t e d e i t h e r full o r p a r t t i m e t o p u b l i c art has

grown

tremendously, thus increasing, simply by virtue of n u m b e r s , the range of practices, e x p e riences, a n d o p i n i o n s that shape o u r present u n d e r s t a n d i n g o f public art. W h i l e

most

professions have links to a r a n g e o f o t h e r fields, t h e n a t u r e o f p u b l i c art s e e m s to a c c e n t u a t e t h e d e g r e e a n d f r e q u e n c y o f t h e s e c o l l a b o r a t i o n s t o a n u n u s u a l level o f c o m p l e x ity. I n d e e d , f o r a r t t o h a p p e n i n a p u b l i c s e t t i n g , it is n o r m a l t o i n v o l v e c i t y , s t a t e , a n d / o r federal administrations, lawyers, urban designers, architects, landscape architects,

con-

tractors, c o n s t r u c t i o n c r e w s a n d t h e u n i o n s t h a t c o n t r o l t h e m , arts a d m i n i s t r a t o r s , c u r a tors, c o m m u n i t y associations, and n e i g h b o r h o o d

groups.

W h e r e is p u b l i c a r t as a f i e l d i n 2 0 0 1 ? W h a t a r e t h e p r o b l e m s a n d i s s u e s w e are d e a l i n g w i t h , a n d w h a t d o e s t h e n e t w o r k ot professional relationships l o o k like? T o w h a t e x t e n t has t h e role o f " t h e p u b l i c " â&#x20AC;&#x201D; o u r c o m m u n i t i e s a n d

neighborhoodsâ&#x20AC;&#x201D;

c h a n g e d ? T h i s article offers a selection o f o p i n i o n s a n d thotights a l o n g w i t h suggestions w h e r e a p p r o p r i a t e . In c o m p i l i n g this i n f o r m a t i o n I h a v e i n t e r v i e w e d artists, c u r a t o r s , a d m i n i s t r a t o r s , lawyers, a n d f u n d e r s t o get a sense o f w h e r e e v o l u t i o n has t a k e n t h e field. As an arts a d m i n i s t r a t o r I b e l i e v e t w o issues are w o r t h a m o r e

struc-

ttired d i s c u s s i o n . T h e y are at t h e c o r e o f o u r activities, y e t t h e i r i m p l i c a t i o n s c a n b e set a s i d e i n t h e d a y - t o - d a y a d m i n i s t r a t i o n o f p u b l i c a r t . T h e f i r s t is t h e c h a n g i n g p e r c e p t i o n of community

involvement, a n d h o w best to i n c o r p o r a t e t h e t h o u g h t s a n d ideas

p e o p l e w h o w i l l l i v e w i t h a g i v e n w o r k o r e n v i r o n m e n t . T h e s e c o n d is t h e v e r y s l i p p e r y issue o f quality. A g r o w i n g n u m b e r o f arts a d m i n i s t r a t o r s in p a r t i c u l a r h a v e

ongoing

c a r e e r s t h a t s t r e t c h b a c k t w e n t y t o t h i r t y years. T h e y b e g a n t h e i r p r o f e s s i o n a l lives believing c o m m u n i t y i n v o l v e m e n t in t h e public art process i n c l u d e d g i v i n g these e n t i ties b r o a d d e c i s i o n - m a k i n g p o w e r s . F o r e x a m p l e , I i n c r e a s i n g l y h e a r s t r o n g a f f i r m a t i o n s o f t h e d e s i r a b i l i t y o f c o m m u n i t y f e e d b a c k i n all p u b l i c a r t p r o c e s s e s , b u t t h e s e a r e c o u pled w i t h t h e n e e d t o reserve final artist selection a n d o t h e r aesthetic d e c i s i o n s t o a b o a r d o f arts professionals. In this r e g a r d w e s e e m t o b e m o v i n g t o w a r d a

European

a p p r o a c h t o p u b l i c a r t i m p l e m e n t a t i o n e v e n as E u r o p e m o v e s ( s l o w l y ) t o w a r d a m o r e e g a l i t a r i a n p r o c e s s . In g e n e r a l t e r m s , p u b l i c art in E u r o p e a n c o u n t r i e s has b e e n

pro-

d u c e d t h r o u g h g o v e r n m e n t fiat w i t h virtually n o c o n t r i b u t i o n f r o m t h e c o n s t i t u e n t s in w h o s e m i d s t a p i e c e is c o n s t r u c t e d . P e r h a p s as a r e s u l t o f p e e r i n g a c r o s s t h e A t l a n t i c , t h e r e s e e m s to b e a m o v e m e n t a f o o t in E u r o p e to b r i n g c o m m u n i t y r e p r e s e n t a t i v e s i n t o t h e s e l e c t i o n p r o c e s s . T h e b e s t e x a m p l e I a m a w a r e o f is t h e e x t e n s i v e s e r i e s o f l i n k e d public art projects for the city o f C o v e n t r y , E n g l a n d , w h e r e e l e c t e d city officials a n d n e i g h b o r h o o d residents b e c a m e p a r t n e r s in t h e artist s e l e c t i o n process.

Interestingly,

this a p p r o a c h c o n t r i b u t e d t o t h e loss o f o f f i c e o f at least o n e p u b l i c o f f i c i a l in t h e t o w n .

P u b l i c A r t R e v i e w . FALL.WTR.OI

Jochen Gerz, The Public Bench, Coventry, England,

contracts, the filing of forms, e t c e t e r a — a n d forget

Coventry City Council,The Phoenix Initiative, MacCormac.Jamieson, Prichard (architect), 1998.

art itself. F o l l o w i n g are s o m e o t h e r facts a n d

Photo courtesy the artist and Modus Operandi A r t Consultants

a b o u t public art considered i m p o r t a n t by m e m b e r s

the

thoughts of

the public art profession. s o m e t h i n g n o t foreign to the A m e r i c a n experience. In the United

States, o n t h e o t h e r h a n d ,

administrators

s e e m i n c r e a s i n g l y a d e p t at f i n d i n g s t r a t e g i e s t o

involve

c o m m u n i t y m e m b e r s in o r d e r t o gain social a n d h i s t o r i cal p e r s p e c t i v e , w h i l e c a r e f u l l y p r e s e r v i n g t h e r o l e

final d e c i s i o n m a k e r f o r arts professionals.

Public A r t and t h e L a w : T h e v a s t m a j o r ity o f legal issues a f f e c t i n g p u b l i c art c o m e b a c k t o t h r e e b r o a d topics: copyright, contracts, a n d moral rights. Copyright: E c h o i n g a n y g o o d

attorney

w o r t h h i s o r h e r salt, l a w y e r K a t h l e e n S t o n e s u g g e s t s all artists s h o u l d t a k e a d v a n t a g e o f c o p y r i g h t laws t o p r o t e c t

Q u a l i t y is o f p a r a m o u n t i m p o r t a n c e

their w o r k . C o p y r i g h t protects o r i g i n a l artistic

expres-

l a r g e m e a s u r e b e c a u s e p u b l i c a r t h a s g r o w n as a p r o f e s -

sion, b u t n o t t h e u n d e r l y i n g idea, fact, or c o n c e p t . T h u s

sional field a n d achieved w h a t s o m e p e o p l e w o u l d

pictorial, g r a p h i c , a n d sculptural w o r k s are

call

"success." T h i s success, m e a s u r e d by the proliferation

p u b l i c art projects, has h a d t h e negative effect o f p r o d u c -

protected

against c o p y i n g a n d i m p r o p e r appropriation by a s u b stantially s i m i l a r w o r k . S h e stresses t h e s e facts:

i n g m o r e b a d p u b l i c art t h a n m a n y o f us are w i l l i n g t o a c k n o w l e d g e . As in a n y o t h e r area w h e r e t h e s u b j e c t i v e n a t u r e o f q u a l i t y is a n i s s u e , t h i s is a c o n c e r n t h a t n e e d s to b e raised, a l t h o u g h t h e r e will b e n o easy answers. At a public

art s y m p o s i u m

Boston

in April

i n t e r n a t i o n a l l y r e n o w n e d p u b l i c artist

2000,

one

suggested—not

T h e c o p y r i g h t o w n e r has t h e r i g h t to display the w o r k publicly. I f a n a r t i s t is c o m m i s s i o n e d t o c r e a t e a w o r k o f art (usually t h e case w i t h p u b l i c art), t h e artist's c o n t i n u i n g o w n e r s h i p o f t h e

copy-

entirely facetiously—that a m o v e m e n t should b e started

r i g h t s h o u l d b e n e g o t i a t e d a n d a g r e e d t o in

t o t a k e d o w n t h e b a d p u b l i c art h e felt was e n c r o a c h i n g

w r i t i n g to eliminate the likelihood that the

all t o o r a p i d l y i n t o o u r l i v i n g e n v i r o n m e n t . I n

c o m m i s s i o n i n g p a r t y will h o l d t h e

another

copy-

c l e a r s i g n t h a t t h i s is a c o n c e r n , R o s s M i l l e r , a p u b l i c

right. As S t o n e n o t e s , t h e artist will n o t have

artist w h o has b e e n active since t h e 1970s, o f f e r e d this

r i g h t s o f a t t r i b u t i o n a n d i n t e g r i t y in w o r k s

q u o t e b y K r z y s z t o f W o d i c z k o w h e n I asked h i m f o r his

m a d e for hire unless specifically agreed

impressions o f the field today: " A r t can

contaminate

T h i s c o n t i n u e s t o b e a m a j o r issue f o r p u b -

pretentious

lic artists w h o r o u t i n e l y feel t h a t in o r d e r t o

public space and e x p e r i e n c e with the most

to.

and patronizing aesthetic environmental pollution. Such

get t h e c o m m i s s i o n s that will p r o p e l

their

b e a u t i f i c a t i o n is u g l i f i c a t i o n ; s u c h h u m a n i z a t i o n

careers forward, they must give up

basic

pro-

v o k e s a l i e n a t i o n ; a n d t h e n o b l e i d e a o f p u b l i c a c c e s s is

rights w h e n r e q u e s t e d to d o so b y the c o m -

l i k e l y t o b e r e c e i v e d as p r i v a t e e x c e s s . "

m i s s i o n i n g entity.

W h o b e t t e r t h a n a n artist t o r e m i n d

C o p y r i g h t p r o t e c t i o n starts t h e m o m e n t

the

h o w e a s y i t is t o g e t l o s t i n t h e m i n u t i a e o f a d m i n i s t r a -

w o r k is f i x e d i n a t a n g i b l e w a y , b u t f o r m a x i -

tion—the

m u m p r o t e c t i o n an artist s h o u l d a d d a c o p y -

facilitation of meetings, the drawing up

Public A r t R e v i e w . FALL.WTR.OI

Timetable for creation of the work, including

right notice to the w o r k . T h i s may consist of the word "copyright," the symbol ÂŠ, or the abbreviation " C o p r . , " plus the year and

c o n t i n g e n c y for s c h e d u l e delays.

the

Payment schedule and conditions for payment,

n a m e o f t h e c o p y r i g h t o w n e r . F u r t h e r , it is r e c o m m e n d e d t h e artist register t h e

including c o n t i n g e n c y for cost overruns.

work

Who

w i t h the U.S. C o p y r i g h t O f f i c e b e f o r e any

carries the responsibility for

shipping,

storage, and insurance of the w o r k .

i n f r i n g e m e n t o c c u r s . T h e artist can t h e n s u e for i n f r i n g e m e n t a n d m a y be able to collect d a m a g e s a n d attorneys' fees in t h e event

In t h e case o f p u b l i c art, I w o u l d

i m p r o p e r c o p y i n g . R e g i s t r a t i o n is a s i m p l e

for the care and m a i n t e n a n c e o f a piece, a l t h o u g h

process.

p r o v i s i o n r e m a i n s less c o m m o n t h a n it s h o u l d b e .

Forms

are

available

online

add

that t h e ideal c o n t r a c t s h o u l d also establish responsibility

this

Moral Rights: G e o r g e T. C o m e a u , a

lcweb.loc.gov/copyright/forms/. Boston A n a r t w o r k m a y be c o p i e d or displayed u n d e r the "fair use" doctrine for certain limited

pur-

attorney

who

has followed the

moral

rights

d e b a t e as i t h a s u n f o l d e d i n t h e U n i t e d S t a t e s , h i g h l i g h t s its s i g n i f i c a n c e as f o l l o w s :

p o s e s s u c h as c r i t i c i s m , t e a c h i n g , a n d n o n p r o f i t d i s p l a y s . Also, t h e artist m a y transfer o r license rights in t h e w o r k .

T h e French (and most of Europe)

recognize

I f t h e c o p y r i g h t is t r a n s f e r r e d t o t h e p u r c h a s e r o f t h e

t h e m o r a l rights o f t h e artist e m b o d i e d in t h e

w o r k , t h e artist m a y n o t b e able t o p r o d u c e a s u b s t a n -

w o r k o f a r t . T h e r i g h t o f a n a r t i s t as a c r e a t o r

tially similar p i e c e w i t h o u t i n f r i n g i n g t h e

to control and protect certain works of p u b -

Again, the parties' rights should b e specifically

negoti-

ated and agreed to in advance.

core of moral rights protection. T h e right

Contracts: S t o n e observes that in art w o r l d contracts are m o s t o f t e n used for p u b l i c

l i c a r t a n d t h e i n t e g r i t y o f t h e a r t is a t

the to

the

integrity o f the a r t w o r k c o n c e r n s t h e ability

com-

o f t h e artist t o c o n t r o l t h e alteration, m u t i l a tion, or d e s t r u c t i o n o f t h e art. R e g a r d l e s s

f o l l o w i n g basic i n f o r m a t i o n , w h i c h , I believe, s u p p o r t s

who

t h e e x p e r i e n c e t h o s e o f us w h o are a d m i n i s t r a t o r s

p r o t e c t t h e art a n d t h e artist's v i s i o n .

missions. In her view, every contract should include

the

have

o w n s t h e art, m o r a l rights a t t e m p t

had to date:

W h o has o w n e r s h i p o f t h e w o r k . W h o will o w n t h e c o p y r i g h t . W h o will have rights to p r o m o t e t h e w o r k .

Jerilea Zempel, Guns & Rosettes, crocheted blanket of rosettes covering a Russian tank, Poznan, Poland, 1998. Photo courtesy Jerilea Zempel

tion

of the

work

o f art, awards

actual

d a m a g e , lost profits, s t a t u t o r y d a m a g e s ,

and

a t t o r n e y s ' fees. t h e VARA, p r o t e c t i o n w i l l e x t e n d

certain single, original w o r k s o f art s u c h

Under

paintings, prints, sculptures, drawings,

and

s p e c i f i c t y p e s o f p h o t o g r a p h s . VARA g i v e s t h e a u t h o r (or creator) o f a w o r k o f visual art the right to: claim authorship of the work; prevent

the

use

of his/her

name

the

a u t h o r of a w o r k h e / s h e did not create; p r e v e n t t h e u s e o f h i s / h e r n a m e as a u t h o r o f a w o r k that has b e e n distorted, m u t i l a t e d , or modified to a certain degree; under

certain

distortion,

circumstances,

mutilation,

prevent

modification,

the or

d e s t r u c t i o n o f a w o r k o f visual art, a l t h o u g h t h i s r i g h t is r e s t r i c t e d w h e n t h e w o r k

has

been incorporated into a building with the consent of the author. VARA p r o v i d e s p r o t e c t i o n o f t h e s e r i g h t s f o r t h e d u r a t i o n o f t h e life o f t h e a u t h o r ( s ) o f t h e work, and these rights cannot be

transferred

to a n o t h e r party, a l t h o u g h t h e y can b e w a i v e d Michael Bramwell, Freedom Sweep-Africa,

if d o n e so b y a w r i t t e n

artist swept places

and signed

waiver.

Verbal waivers are n o t sufficient.

associated with the historical slave trade, G o r e e Island, Senegal, 1998. ( r i g h t ) Steven Siegel,/\ Fox Lives Here Too, a biodegradable sculpture made

Most

of recycled newspapers, Poet's Walk, Red Hook, N.Y.,2001.

o f t e n at issue a r e t h e

problems

a s s o c i a t e d w i t h l a r g e w o r k s o f a r t i n s t a l l e d i n o r as p a r t

Photos courtesy the Gunk Foundation

of buildings. Architects and building owners often M o r a l rights statutes are n u m e r o u s

through-

out Europe, Canada, and most recently Australia. T h e moral

United

recognized

1990 with

the

o f the Visual Artists R i g h t s

Act

(VARA). S e v e r a l states-based tion

has

r i g h t s f o r artists since

enactment

individual

states also

statutes, b u t the federal

generally

some

States

preempts

cases, states e x t e n d

state

statutes.

moral

rights

tection that may be greater and cover and 14

rights

those

not

included

cases, state

rights

VARA is p a r t o f t h e

in may

the

works

VARA.

U.S. C o p y r i g h t

In The

Law

registered

a lawsuit for

copy-

r i g h t i n f r i n g e m e n t . B u t , an artist can

assert

moral

rights

to bring

In pro-

control.

w h i c h artists n e e d t o h a v e actually the

have

legisla-

under

U . S . C o d e , vol. 17,

106(a) w i t h o u t actually r e g i s t e r i n g t h e Remedies granted

for damages the

are similar to

protection

include injunctions prohibiting the

P u b l i c A r t R e v i e w . fALL.WTR.01

sec.

work. those and

destruc-

artists to e l i m i n a t e o r c o n s t r a i n m o r a l rights with

the

removal

destruction

of such

ask

associated art. Artists

should understand their rights and k n o w that m a n y

t h e s e issues are d e c i d e d o n a c a s e - b y - c a s e basis.

Funders and Public Art: Every public art f u n d e r will h a v e a u n i q u e m i s s i o n a n d set o f c r i t e r i a . T h e o p i n i o n s expressed by N a d i n e L e m m o n , director

of the

Gunk

Foundation

executive

in G a r d i n e r ,

Y o r k , h o w e v e r , address m a n y o f t h e issues

New

concerning

g r a n t i n g a g e n c i e s o f all s t r i p e s . A s s t a t e d o n t h e i r W e b s i t e ( w w w . g u n k . o r g ) , t h e G u n k F o u n d a t i o n is a c h a r i t a ble o r g a n i z a t i o n established in 1 9 9 4 " t o p r o v i d e a c o u n terbalance to the recent, disturbing trends in f u n d i n g for i n t e l l e c t u a l e n d e a v o r s . " Its c u r r e n t e m p h a s i s is t o

help

s u p p o r t the p r o d u c t i o n of n o n t r a d i t i o n a l public art p r o j ects. In L e m m o n ' s w o r d s , " W e have l o c a t e d a n area that has a t r e m e n d o u s n e e d â&#x20AC;&#x201D; b u t w e j u s t d o n ' t have

enough

m o n e y t o f u n d all o f t h e p r o j e c t s w e ' d l i k e t o f u n d . " For

organization

the

Gunk

F o u n d a t i o n , s e l e c t i o n c r i t e r i a is p h i l o s o p h i c a l l y

based

a n d a t t e m p t s t o fill p e r c e i v e d f u n d i n g g a p s . " A f t e r

the

p o l i t i c a l t r o u b l e s o f t h e 1 9 8 0 s a n d t h e NEA, m a n y f u n d i n g sources pulled b a c k i n t o 'safer' sorts o f p u b l i c p r o j ects, e.g. murals, traditional sculpture, o r

community

i m p r o v e m e n t projects. W e are t r y i n g to f u n d

projects

that seek o u t n e w topics, n e w f o r m s , a n d n e w spaces for public

art. W e

feel

these

three

crucial,

interrelated

aspectsâ&#x20AC;&#x201D;content, language used to c o m m u n i c a t e the audience, and contextâ&#x20AC;&#x201D;need

with

to be considered

o r d e r t o p r o d u c e a s u c c e s s f u l p i e c e of p u b l i c a r t . " T o b e

Megan Wilson, Better Homes and Gardens, signs distributed to people living in the streets or soon to be evicted, San Francisco, Calif., 2000. Photo courtesy the Gunk Foundation

s u r e , t h e G u n k F o u n d a t i o n is a r a r e e x a m p l e o f a p u b l i c a r t r e s o u r c e w i t h a c l e a r l y d e f i n e d p o l i t i c a l s t a n c e . Its

f u n c t i o n s in a larger social system. A n artist m u s t

a p p r o a c h is e s s e n t i a l l y M a r x i s t . A s L e m m o n

a b o u t h o w all t h e c o n s t i t u e n t p a r t s i n t e r a c t . "

explains,

" W e t h i n k artists s h o u l d take i n t o c o n s i d e r a t i o n h o w art

When

it c o m e s t o l a n g u a g e ,

feels " t o o m a n y p r o j e c t s are o n e - l i n e r s

(and

think

Lemmon therefore

don't encourage the audience to m o v e beyond the surf a c e ) o r a r e n o t u n d e r s t a n d a b l e b e c a u s e t h e l a n g u a g e is obscure, the content

or complicated

tor

the situation." T h e position she articulates implies

too esoteric

the

a u d i e n c e n e e d s t o u n d e r s t a n d t h e m e a n i n g of t h e

work

b y l o o k i n g a t it o r h e a r i n g it, n o t b y r e a d i n g a n a r t i s t ' s written

explanation. L e m m o n clearly articulates w h a t

many

funders either have not t h o u g h t about or seem reluctant t o address h e a d o n in t e r m s o f site-specific w o r k in t h e

p u b l i c d o m a i n : p u b l i c s p a c e is " i n f u s e d w i t h a p r e - e x i s t i n g s o c i a l m e a n i n g . " It is t h i s a s p e c t o f a p r o j e c t Gunk

F o u n d a t i o n is s p e c i f i c a l l y l o o k i n g t o

the

emphasize

a n d c l a r i f y t h r o u g h its g r a n t s .

Public Art Curators: T h i r t y years ago a c u r a t o r specializing in public art a n d site-specific

work

was q u i t e rare; t o d a y a c o m p a r a t i v e l y large n u m b e r

s u c h professionals exist. T h e i r interest in p u b l i c art c o u pled w i t h their professional responsibility to identify and

P u b l i c Art R e v i e w . FALL.WTR.OI

assess m a j o r t r e n d s b e y o n d t h e l o c a l l e v e l , i n c r e a s i n g l y

niently offer a pro b o n o discount. Civic mindedness, a

provide

p u b l i c r e l a t i o n s c o u p , a n d a sale c o u l d b e g a r n e r e d i n o n e

unusual and sometimes

unexpected

i n s i g h t s . N i c h o l a s C a p a s s o , c u r a t o r at t h e

us w i t h

DeCordova

q u i c k deal

M u s e u m a n d S c u l p t u r e Park in L i n c o l n , Massachusetts,

precluded

has i d e n t i f i e d an issue m a n y

o f us h a v e n o t

thought

But

the sale of each commercial

the commission

of a work

art. For most communities,

a single

m u c h about, b u t w h i c h has an inordinate impact o n o u r

individual

memorial,

p u b l i c spaces a n d t h e w o r k o p p o r t u n i t i e s available for

public

p u b l i c artists: t h e effect o f t h e m e m o r i a l

Capasso's

1998

dissertation,

a living

artwork—was

monument

t r a d e o n p u b l i c c o m m e m o r a t i v e art in this c o u n t r y . In

whether

quite enough.

memorial

The

vast p r e p o n d e r a n c e

also public

to an event

commercial

or an

monument,

" (Italics m i n e . )

Capasso concludes: " T h e the m e m o r i a l - m o n u m e n t

monument

of commemorative

influence

t r a d e c o n t i n u e s t o t h i s day. of nonutilitarian

memorials

writes: " B y the 1950s and t h r o u g h the 1970s most n o n u -

e r e c t e d in A m e r i c a c o n t i n u e s to be t h e small,

tilitarian public c o m m e m o r a t i o n

m o u s , p l a i n , s t o n e slabs d e s i g n e d a n d m a n u f a c t u r e d

consisted of inscribed

anonyby

s t o n e slabs o r p l a q u e s o n r o c k s w i t h l i t t l e o r n o f i g u r a t i v e

the granite industry." Indeed, Capasso

representation

s e r v a t i v e l y h e i n s i s t s — t h a t o v e r 7 5 p e r c e n t o f all l o c a l

of any kind

They

could be

quickly

o r d e r e d f r o m a n d delivered by t h e local m e m o r i a l

mon-

town

estimates—con-

and c o u n t y m e m o r i a l s to the V i e t n a m War, the

u m e n t salesperson. N o l o n g a n d involved artistic selec-

K o r e a n W a r , a n d W o r l d W a r II a l o n e a r e s t o n e

t i o n process was necessary, a n d t h e f u n d s c o u l d b e k e p t in

e v e r y o n e a lost p u b l i c art o p p o r t u n i t y .

t h e local e c o n o m y . S u c h ease o f p u r c h a s e was

tablets,

matched

I recently b e c a m e aware of the negative

only by the aggressiveness o f the salespeople. L o n g before

i n f l u e n c e o n p u b l i c art, n o t o n l y o f t h e g r a n i t e a n d m o n -

the e n d of the Second World War, the

ument

memorial-monu-

industry,

but

also

unscrupulous

"public

m e n t i n d u s t r y w a s h a r d at w o r k c o n c o c t i n g p r o m o t i o n a l

art administrators." M y organization was asked to s u b m i t

strategies for postwar public veterans' memorials. Trade

a b i d t o m a n a g e t h e artist s e l e c t i o n process a n d c o n s t r u c -

o r g a n i z a t i o n s like t h e A m e r i c a n M o n u m e n t

Association

tion o f a w o r k o f public art for a c o m m u n i t y that suffered

a n d the Barre Granite Association developed large cata-

a t e r r i b l e t r a g e d y t h a t i n c l u d e d a c o n s i d e r a b l e loss o f life.

logues o f m e m o r i a l designs in anticipation o f the a n d b u d g e t s o f c o m m u n i t i e s o f all s i z e s . T h e y

needs

exhorted

In c o n v e r s a t i o n s w i t h m y c o n t a c t f o r t h i s p o s s i b l e tract, I l e a r n e d

his o r g a n i z a t i o n

had been

con-

contacted

t h e i r m e m b e r s h i p to infiltrate local civic o r g a n i z a t i o n s t o

immediately following the tragedy by m o r e than

suggest the erection of a m o n u m e n t

outfit o r individual selling services for t h e administration

and then

conve-

one

a n d p r o d u c t i o n o f a f i t t i n g m e m o r i a l . W h i l e d i s t u r b i n g in Dinh Q Le, Damaged Genes: A Legacy of the Vietnam War,

i t s e l f , t h i s f a c t d o e s p r o v e o n e t h i n g : if t h i s i n d e e d is a n

souvenir-type items focusing on the issue of birth defects

o b s e r v a b l e t r e n d , t h e n t h e level o f activity f o s t e r i n g this

attributable to Agent Orange, H o Chi Minh City,Vietnam, 1998. Photo courtesy the Gunk Foundation

p h e n o m e n o n should indicate the significant

opportuni-

ties t h a t exist f o r p u b l i c a e s t h e t i c i n t e r v e n t i o n . P u b l i c a r t as a p r o f e s s i o n c o n t i n u e s b u i l d its o w n

history. T h e

body

of information

to and

a c c u m u l a t e d k n o w l e d g e t h a t n o w e x i s t m a k e it p o s s i b l e to shape policy based on e x p e r i e n c e and precedent to a d e g r e e s i m p l y n o t possible t h i r t y years ago. Yet t h e field remains young, with each project shaping m e t h o d

and

p r a c t i c e in t h e a b s e n c e o f c o d i f i e d s t a n d a r d s . W h e t h e r o r n o t t h e s e a r e e v e n d e s i r a b l e is a s e p a r a t e i s s u e . W h a t is s u r e is t h e e x c i t e m e n t o f s t e p p i n g i n t o t h e 16

unknown

m a n y o f us feel—artist, administrator, a n d p u b l i c official alike—each

t i m e a n e w p r o j e c t gets u n d e r way. W h a t

strikes m e m o s t after talking to t h e m a n y c o n t r i b u t o r s to t h i s a r t i c l e is t h e f a c t t h a t p r o d u c i n g a r t i n t h e

public

d o m a i n r e m a i n s as v a r i e d a n d c o m p l e x as it w a s f r o m the outset.

Ricardo Barreto is the director of the UrbanArts Institute at Massachusetts College of A r t in Boston.

P u b l i c A r t R e v i e w . FALL.WTR.OI

TRIALS AND TRIUMPHS ARTS-BASED C O M M U N I T Y

William

DEVELOPMENT

Cleveland

N T H E LATE 1980S, AT A PUBLIC A R T C O N F E R E N C E AT T H E U N I V E R S I T Y O F W A S H I N G T O N , SEATTLE, A

p a n e l o f d e v e l o p e r s , a r c h i t e c t s , a n d artists d e b a t e d w h e t h e r artists s h o u l d b e i n c l u d e d o n design teams for b u i l d i n g projects that i n c o r p o r a t e public art. T h e d e b a t e

was

h e a t e d , particularly b e t w e e n artists a n d d e v e l o p e r s . A t t h e t i m e , this idea w a s fairly r a d i c a l . A r t i s t J u d y B a c a w a s t h e last o f t h e p a n e l i s t s t o s p e a k . S h e c h a l l e n g e d h e r c o l l e a g u e s with the following: H e r e is a p a r t i a l list o f t h e d e s i g n t e a m f o r o n e o f m y r e c e n t p u b l i c a r t p r o j ects: artists, d e v e l o p e r s , a r c h i t e c t s , local h i g h s c h o o l s t u d e n t s , r e p r e s e n t a t i v e s o f n e i g h b o r h o o d associations a n d c o m m u n i t y organizations, area g a n g l e a d ership, city planners, n e i g h b o r h o o d

business owners, the A r m y

Corps

Engineers, and the w o m e n ' s auxiliary f r o m a nearby Baptist church. I could go on, but I think you get m y point. Baca was n o t speaking a b o u t s o m e new, e x p e r i m e n t a l w r i n k l e in

the

landscape o f public art. S h e was d e s c r i b i n g a l o n g legacy o f public participation in artistic p r a c t i c e . T h e s e days t h e c o m m u n i t y e n g a g e m e n t ideals B a c a r e p r e s e n t e d h a v e i n s i n uated themselves m u c h m o r e deeply into m a i n s t r e a m culture. M o r e a n d m o r e public art p r o g r a m s e m p h a s i z e c o m m u n i t y e n g a g e m e n t as w e l l as a r t s p r o d u c t i o n . At the same time, the o n g o i n g debate a b o u t h o w art s h o u l d manifest in t h e p u b l i c s p h e r e has increased in s c o p e a n d intensity. S o m e feel that w h a t was o n c e a William Cochran, Community Bridge

d e a r l y

Project, Frederick, Md„ 1998.

g r a n t g u i d e l i n e s , s o c i a l e n g i n e e r i n g , a n d f e e l - g o o d j a r g o n . O t h e r s s e e t h e s e c h a n g e s as

Photo courtesy William Cochran©

d e f m e d

u n l v e r s e

o f public art i n t e n t has evolved into a c o n f u s i n g b a b b l e o f f u z z y

positive—a deliverance from the imposition and tyranny of the "plop art" invaders.

S e p a r a t e f r o m t h e politics, artists f i n d t h e m s e l v e s

con-

his m a s t e r y o f t h e t r o m p e l'oeil t e c h n i q u e a n d

fronting new

they

l e a r n i n g t h e r o p e s at c i t y hall. A l t h o u g h t h e

and

daunting

challengesâ&#x20AC;&#x201D;things

n e v e r c o v e r e d in art school.

field

of public

o f a p p r o a c h e s has

one end of the continuum

art

are a small n u m b e r

ideas fairly i n d e p e n d e n t l y o f public i n p u t o r

wanted

T h e " m o r e " in this case w a s p r e c i p i t a t e d

b y t h e city's i n t e r e s t in r e v i t a l i z i n g a m u n i c i p a l p a r k t h a t

their

h a d b e c o m e an eyesore a n d suffered f r o m disuse. At t h e

participa-

t i m e , F r e d e r i c k w a s s t r u g g l i n g w i t h i n c r e a s i n g levels o f

t i o n . O n t h e o t h e r e n d a r e a r t i s t s w h o a c t as f a c i l i t a t o r s

racial a c r i m o n y . T h e l a n d t h a t w o u l d m a k e u p t h e

tor the creation of a r t w o r k s b y everyday citizens. In the

park

middle

between

William Bridge

Cochran

Project

incorporate

is o n e

such

aspects

artist. H i s

more.

emerged.

p u b l i c art p r o g r a m s t h a t a l l o w artists t o m a n i f e s t

are artists w h o

experience

h a d left h i m n e a r l y b r o k e a n d physically e x h a u s t e d , h e

I n t e r e s t i n g l y , as t h e has evolved, a c o n t i n u u m

begun

both.

Community

(1993â&#x20AC;&#x201D;1998) provides an interesting

case

was

regarded

many

as t h e

facto

new

border

the black and white communities. T h e

city's

board of aldermen h o p e d that the n e w park would

help

t h e a r e a ' s e s t r a n g e d n e i g h b o r s find c o m m o n g r o u n d , l i t -

s t u d y t o e x p l o r e s o m e o f t h e c h a l l e n g e s a n d issues f a c e d

erally. T h e p r o j e c t w a s t o b e g i n w i t h t h e r e n o v a t i o n

b y artists w o r k i n g in this h y b r i d r e a l m .

an unattractive concrete b r i d g e that spanned a stream,

Although

muralist,

William

C a r r o l l C r e e k , t h a t split t h e p a r k d o w n t h e m i d d l e .

C o c h r a n c o u l d a l s o b e d e s c r i b e d as a n i l l u s i o n i s t i n t h e

Seeing

obvious

opportunity,

s a m e v e i n as H a r r y H o u d i n i . w h o m a d e h i s r e p u t a t i o n b y

Cochran

e s c a p i n g , a t t h e last p o s s i b l e s e c o n d , f r o m w h a t a p p e a r e d

s t o n e f a c a d e t o e n h a n c e t h e b r i d g e . It w a s a h a r d sell,

to be certain death. Cochran's methodical

but Cochran

p r e v a i l e d , n o t o n l y b e c a u s e his

a p p e a r s q u i t e safe, b u t his w o r k also i n c l u d e s an e l e m e n t

included

additional

o f r i s k . C o c h r a n ' s " m a g i c " is t r o m p e l ' o e i l , t h e a n c i e n t a r t

because

o f v i s u a l d e c e p t i o n . T h e r i s k s h e f a c e s a r e less o b v i o u s , b u t

leaders

in s o m e w a y s m o r e real. C o c h r a n sees his p a i n t e d illusions

since F r e d e r i c k h a d n o public art p r o g r a m , there

as a c a t a l y s t f o r a n e n t e r p r i s e m o r e s u b t l y p e r i l o u s , y e t f a r

more complexâ&#x20AC;&#x201D;building community.

was approved was a simple artwork," explains

In t h e early

1900s H o u d i n i

rendering

promised,

a n d d e l i v e r e d , m o m e n t a r y thrills. I n 1 9 9 3 in his town

of Frederick, Maryland, William

home-

Cochran

was

proposed

using trompe

of the credibility during

his w o r k

costs

for

l'oeil rather than

the

statutes or bureaucracies

t h e Angels

to contend

But, 1 didn't need c o m m u n i t y

the previous f o u r years c o m p l e t i n g a series of

small

t o sell t h e

Bridge

t o r i c d o w n t o w n . In t h e p r o c e s s , h e h a d b o t h

increased

with.

And were

"What

Cochran.

some-

thing about community engagement from working t h e Angels.

in t h e city's h i s -

local

project.

'quantity: 1 t r o m p e l'oeil bridge.' I h a d learned

spent

in the Architecture

also

with

" I still h a v e t h e p u r c h a s e o r d e r f r o m t h e c i t y t h a t says

i n t e r e s t e d in s o m e t h i n g m o r e substantial. H e h a d

m u r a l s c a l l e d Angels

proposal

city, b u t

he had accrued

project. T h e

Bridge before Community

Bridge Project, Frederick, Md.

P u b l i c A r t R e v i e w . FALL.WTR.OI

engagement

participatory part

came

after the approval." After getting

final

approval,

Cochran

started to conceive a vision for the project that

Photo courtesy William Cochran

m u c h m o r e that just covering the bridge with l ' o e i l s t o n e w o r k . T h e i d e a t h a t e m e r g e d w a s as

was

trompe much

(left) William Cochran, Community Bridge Project, Archangel (from side), Frederick, Md., 1998. (above) William Cochran, Community Bridge Project, Archangel (from front), Frederick, Md., 1998. Photos courtesy William CochranÂŠ

t h e a t r i c a l as it w a s v i s u a l , a m u r a l p r o j e c t f u e l e d b y t h e

m a n . "I said, ' L o o k , I d o n ' t care a b o u t t h e b e e r , I j u s t

stories, ideas, a n d , m o s t i m p o r t a n t l y , p a r t i c i p a t i o n o f t h e

w a n t t o ask y o u

people of Frederick.

b r i d g e to be an a r t w o r k a n d I ' m collecting ideas f r o m

whole

audac-

t h e c o m m u n i t y . I w a s w o n d e r i n g it I a s k y o u t h i s q u e s -

neither

t i o n w h a t y o u r a n s w e r w o u l d be.' S o I asked h i m , ' W h a t

In retrospect, the project's naive i t y w a s p r o b a b l y o n e o f its g r e a t e s t a s s e t s . W h i l e

a q u e s t i o n . I ' m p a i n t i n g this

C o c h r a n n o r t h e city h a d ever a t t e m p t e d a n y t h i n g like

o b j e c t represents t h e spirit o f c o m m u n i t y to you?'

it, C o c h r a n d i d r e a l i z e t h i s e x p a n d e d i d e a w o u l d

h a r d l y hesitated, a n d h e said, ' T w o h a n d s , o n e

com-

p l i c a t e a n already d i f f i c u l t e n d e a v o r . H e also k n e w good intentions would not protect h i m from the

that com-

m u n i t y ' s political a n d social m i n e f i e l d s . T o b e g i n

build-

who

had agreed to help m a n a g e the g r o w i n g project, hit

helping

t h e o t h e r o v e r t h e w a l l , o n e b l a c k , o n e w h i t e , it d o e s n ' t m a t t e r w h i c h is w h i c h . ' W i t h t h e p o w e r o f t h a t a n s w e r , I k n e w we had the right question."

ing trust, he n e e d e d a way to involve the public that was b o t h accessible a n d safe. H e a n d his w i f e , Teresa,

With

what

became

known

q u e s t i o n " in h a n d , Teresa C o c h r a n a n d a d o z e n

"the

commu-

nity leaders w h o m she and C o c h r a n had recruited f r o m

the idea of using a question that w o u l d invite p e o p l e to

n e i g h b o r h o o d s a n d businesses o n b o t h sides o f t h e c r e e k

express their ideas and feelings a b o u t c o m m u n i t y

t o s e r v e as t h e " g u i d a n c e t e a m " b e g a n t o c r e a t e a n

out-

solicit ideas f o r t h e b r i d g e ' s design. If t h e b r i d g e w a s t o

reach process to engage Frederick's diverse and separate

become

communities. People

than a decorative footnote, people

in F r e d e r i c k

were

not

used

b o t h sides o f C a r r o l l C r e e k w o u l d n e e d t o feel that t h e i r

b e i n g asked tor their i n p u t o n anything, especially

i n v o l v e m e n t was n o t a t o k e n gesture. Also, b e c a u s e this

d e s i g n o f a b r i d g e . N e v e r t h e l e s s t h e C o c h r a n s f e l t all o f

was a visual design process, these ideas w o u l d n e e d to b e

the

translated into symbols o r images that c o u l d be used in

opportunity to contribute.

the mural.

1 7 3 , 0 0 0 p e o p l e living in t h e area s h o u l d h a v e

The O v e r the course ot the n e x t f e w w e e k s

m a n y questions w e r e tested o n m e m b e r s of the nity; h o w e v e r , k n o w i n g t h e stakes, C o c h r a n

commuremained

guidance

team

came

with

the

sophisticated c o m m u n i c a t i o n plan and enlisted over o n e hundred n e w volunteers. T h e yearlong outreach tive i n c o r p o r a t e d direct mail, p u b l i c s e r v i c e

initia-

announce-

unsure of the perfect question. O n e evening, after a l o n g

m e n t s , p u b l i c l e c t u r e s , a W e b site, s t r e e t i n t e r v i e w s , a n d a

day's w o r k p r e p a r i n g t h e b r i d g e surface, C o c h r a n

s p e c i a l c u r r i c u l u m f o r s c h o o l s all a s k i n g i n d i v i d u a l s

came

across a t r i o o f teens d r i n k i n g b e e r u n d e r t h e span. W a r y

respond to the question, " W h a t

of the adult interloper, t w o of the three took off on their

spirit o f c o m m u n i t y to y o u ? " A n electronic billboard sit-

bikes, b u t o n e s t o o d his g r o u n d . S e e i n g an

uated on Frederick's main t h r o u g h w a y

to test his q u e s t i o n , C o c h r a n

approached

opportunity the

young

object represents

flashed

the

the ques-

t i o n f o r six w e e k s . P o s t e r s , r e s p o n s e cards, a n d c o l l e c t i o n

P u b l i c A r t R e v i e w . FALL.WTR.OI

o n e - h u n d r e d - f o o t span. G e t t i n g this message u p was p a r ticularly i m p o r t a n t , since nearly eight m o n t h s of additional surface preparation and fund-raising had to

completed before additional images were added. Initially t h e o u t r e a c h initiative was

not

as s u c c e s s f u l a t t r a c t i n g n e e d e d f u n d i n g as it w a s b u i l d i n g c o m m u n i t y awareness and participation.Throughout

the

project's first half a lack o f f u n d s s l o w e d t h e process c o n s i d e r a b l y a n d p l a c e d g r e a t stress o n C o c h r a n a n d S h a r e d Vision's nucleus of w o r k e r s a n d volunteers. In

retro-

s p e c t , C o c h r a n r e g a r d s t h e s e o b s t a c l e s as h a v i n g s t e e l e d everyone's

resolve. T h e i r

investment

of sweat

equity

eventually paid off. In early 1996, various f u n d i n g initiatives started to b e a r fruit. In a d d i t i o n t o t h e city's c o n t r i bution of $122,000, funds were received f r o m b o t h

the

M a r y l a n d a n d F r e d e r i c k arts councils, d o z e n s o f local businesses, corporations, individual d o n o r s , and from the general public through

$80,000

t h e sale o f " B r i d g e

Bonds," certificates presented for $25 and $ 1 0 0

dona-

tions to paint individual stones.

William Cochran, Community Bridge Project, The Unfound Door, Frederick, M d „ 1998.

T h e e v e n t u a l p r i c e t a g f o r t h e m u r a l , its administration, and

( b e l o w ) William Cochran, Community Bridge Project,

events came

to just

over

The Forgotten Song, Frederick, Md„ 1998

$ 5 0 0 , 0 0 0 in cash a n d i n - k i n d services. A c c o r d i n g

Photos courtesy William Cochran©

C o c h r a n , this cost was a p p r o x i m a t e l y 4 0 p e r c e n t

t h a n if h e h a d p r o d u c e d a s t r a i g h t m u r a l . boxes w e r e placed in businesses, libraries, schools, and about

an u n r e m a r k a b l e c o n c r e t e c o n v e y a n c e i n t o a w o r k o f art

responded.

took thousands of hours of hand-painting over a three-

o t h e r p u b l i c f a c i l i t i e s all o v e r t o w n . A s t h e b u z z t h e Community

Bridge

g r e w , t h e m e d i a also

T h e i r o n g o i n g interest, including a d o c u m e n t a r y

video

that ran over f o r t y times o n the local cable station, k e p t t h e p r o j e c t in t h e p u b l i c eye. A f t e r t h e f i r s t f e w m o n t h s , it w a s c l e a r that the plan was w o r k i n g . R e s p o n s e s started to trickle, then

pour

into the offices of Shared Vision, the

nonprofit created by the guidance team to manage

new the

p r o j e c t . T h e y c a m e in t h e f o r m o f stories, p o e m s , d r a w ings,

even

describe

music.

both

Many

people

an i m a g e a n d

felt

compelled

t h e life e x p e r i e n c e

to that

g e n e r a t e d it. The

Community

Bridge

ultimately

took

f i v e y e a r s t o c o m p l e t e . A s l o n g as t h i s s e e m s ,

Cochran

feels it a c t u a l l y h e l p e d m i t i g a t e n o t i o n s i n t h e

commu-

n i t y t h a t t h e p r o j e c t w a s a flash i n t h e p a n . " T h e r e w e r e a lot o f skeptics at first, b u t eventually, p e o p l e t h a t it w a s n ' t g o i n g a w a y . " N e v e r t h e l e s s ,

concluded

understanding

the need to keep people involved and informed, Shared Vision

organized

small

celebrations

and

speaking

e n g a g e m e n t s as a r e g u l a r f e a t u r e o f t h e p r o j e c t . T h e f i r s t p a i n t e d i m a g e s also h e l p e d . R a t h e r t h a n b e g i n w i t h s o m e of the smaller, m o r e intricate designs, C o c h r a n

decided

t o u s e t h e b r i d g e as a b i l l b o a r d o f s o r t s . H e p l a c e d

the

w o r d s " T h i s Is A S h a r e d V i s i o n " a c r o s s t h e m i d d l e o f t h e

P u b l i c A r t R e v i e w . FALL.WTR.OI

T h e transformation of the bridge from

year period. M o r e than three thousand

trompe

l'oeil

stones cover nearly twenty-five h u n d r e d square feet b r i d g e s u r f a c e . T h e s e are interspersed w i t h o n e painted carvings of c o m m u n i t y

hundred

ideas and f o u r

major

t r o m p e l'oeil features: a sculpted figure, a marble

foun-

tain, a b r o n z e gate, a n d a f i v e - f o o t a n a m o r p h i c

projec-

t i o n o f a n a n g e l . T h e r e s u l t is a v e r y p o t e n t t r i c k o f t h e e y e â&#x20AC;&#x201D; s o w e l l r e n d e r e d t h a t s o m e o f t h e site's f i f t y t h o u s a n d a n n u a l v i s i t o r s n e v e r r e a l i z e t h e y a r e n o t l o o k i n g at an old s t o n e b r i d g e . Nearly Cochran's; a group

all

of ten

the

brushstrokes

apprentices

and

are

muralists

w o r k e d w i t h h i m d u r i n g t h e p r o j e c t . Yet h e t r u l y feels t h e w o r k is a " c o c r e a t i o n , " w i t h h i s c o l l a b o r a t o r s

num-

b e r i n g in t h e h u n d r e d s , e v e n t h o u s a n d s . M a n y o f t h e symbols, w h i c h i n c l u d e an I n d i a n prayer w h e e l , a s h o o t i n g star, a c h a m e l e o n , a n d e v e n a p a r k i n g m e t e r ,

com-

bine the suggestions of m o r e than o n e individual. T h e

Marilyn Lindstrom, We Come from the Four

publication d o c u m e n t i n g the project names each

from Neighborhood

sym-

neighborhood youth and community members,

bol's d e r i v a t i o n a n d c o n t r i b u t o r s . Cochran

Directions,

Safe Art, raising of an arch created with

Minneapolis, Minn., 1991.

a n d o t h e r s in t h e

Frederick

Photo by Gayla Ellis

c o m m u n i t y feel t h e bridge's p o w e r e x t e n d s far b e y o n d its c a p a c i t y t o f o o l t h e e y e . T h e y s e e t h e m u r a l ' s c r e a t i o n

symbol of apartheid. W e had been given a stone

from

as h a v i n g h e l p e d c h a n g e t h e c i t y ' s v i e w o f itself a n d t h e

t h a t r o a d . I d e c i d e d t o g i v e it t o t h e a u d i e n c e t o

pass

dynamics

Grimes, w h o

community

interaction.

Mayor

p r o v i d e d $ 5 , 0 0 0 o f his o w n

James

a r o u n d . I d o n ' t t h i n k a n y o n e t h o u g h t it w o u l d g o all t h e

w a y a r o u n d . B u t it z i g z a g g e d t h r o u g h t h e c r o w d , d o w n

j u m p - s t a r t f u n d - r a i s i n g f o r t h e b r i d g e c a l l e d it " a l a n d -

o n e side o f t h e c r e e k , u p t h e o t h e r , a n d b a c k t o m e . It

m a r k f o r o u r c o m m u n i t y . " A n d r e a B u r c h e t t e , a local arts

s h o w e d h o w the bridge w e had built together had liter-

t e a c h e r , is m o r e p h i l o s o p h i c a l , " I b e c a m e i m p r e s s e d w i t h

ally t o u c h e d t h e o t h e r s i d e o f t h e w o r l d . A f t e r t h a t e v e n t

t h e s p i r i t o f c o m m u n i t y as a n e n t i t y . It h a s a f o r c e a n d

o n e o f the things y o u w e r e likely to hear f r o m

direction, indeed a magic."

p e o p l e w h o w e r e t h e r e w a s 'I g o t t o t o u c h t h e s t o n e . ' "

Richard

money

Griffin, executive director

some

the Greater Frederick Development Corporation, ident i f i e s t h e Community

Bridge

as h a v i n g p r o v i d e d t h e i m p e -

tus for a " s t r e n g t h e n e d . . . c o m m u n i t y

focus" on

"declining industrial area" that surrounds the park. believes a n u m b e r o f local m u l t i m i l l i o n dollar investment projects experienced increased a n d f o c u s as a r e s u l t o t t h e Bridge As t h e m u r a l

not

the

f o r t h e f a i n t o f h e a r t . H a v i n g w o r k e d in t h e p u b l i c

and

c o m m u n i t y art field for t h r e e decades, I take t h e

capital

momentum

project.

neared

Community-based

art-making

t i o n t h a t a u t h e n t i c p u b l i c i n v o l v e m e n t is a r i s k y

posiunder-

taking, even u n d e r the best conditions. N o matter

how

well prepared, y o u will inevitably find yourself l e a r n i n g

completion

the

o n t h e j o b , o r as W i l l i a m C o c h r a n p u t s it, " b u i l d i n g t h e

S h a r e d V i s i o n t e a m r e c o go n i z e d t h a t its u n v e i l i n go w o u l d

r o c k e t as it is t a k i n g o f f . " N o n e t h e l e s s , t h e r e a r e

n e e d t o b e as i n c l u s i v e as t h e p r o c e s s t h a t c r e a t e d i t . A

t h i n g s t h a t artists, a d m i n i s t r a t o r s , a n d t h e i r

year in p l a n n i n g , t h e c e l e b r a t i o n t o o k place o n

p a r t n e r s c a n c o n s i d e r as t h e y c i r c l e t h e l a u n c h i n g

Septem-

b e r 12, 1 9 9 8 , a t t r a c t i n g o v e r five t h o u s a n d p e o p l e , m a n y

some

community

There are no easy answers: T h e single

o f w h o m h a d c o n t r i b u t e d t o t h e p r o j e c t . Says C o c h r a n , " L i k e e v e r y t h i n g e l s e w e c o n c e i v e d o t , it w a s p a r t o t t h e

most i m p o r t a n t key to successful c o m m u n i t y

w o r k . T h e p e o p l e w h o c o n t r i b u t e d their ideas a n d v o l -

m e n t i n p u b l i c a r t is u n d e r s t a n d i n g t h a t t h e r e a r e

u n t e e r e d k n e w t h a t t h e y w e r e a p a r t of t h i s â&#x20AC;&#x201D; a s

microwavable

ators. W e

broadcast

live

the

Internet.

cocre-

pad.

H e r e are a f e w f r o m m y perspective.

shortcuts

to participatory

engageno

art-making.

was

E v e r y c o m m u n i t y ' s cultural, social, a n d political e c o l o g y

multimedia, with music, dance, and fireworks. W e

also

is u n i q u e . A s s u m p t i o n s a n d e x p e c t a t i o n s c a r r i e d

over

h a d a v i d e o m e s s a g e f r o m a S o u t h A f r i c a n sister p r o j e c t .

f r o m o t h e r sites s h o u l d b e c h e c k e d at t h e

T h e y w e r e u s i n g art t o t r a n s f o r m this t e n - m i l e stretch o f

s c r u p u l o u s l e a r n i n g o f a c o m m u n i t y ' s c u l t u r e is a n i n d i s -

roadway between J o h a n n e s b u r g and Soweto that was a

pensable part o f building c o m m u n i t y trust.

doorâ&#x20AC;&#x201D;the

P u b l i c A r t R e v i e w . FALL.WTR.OI

Meg Saligman, Once in a Millennium

Moon, the largest publicly funded mural

created with participation of the city of Shreveport and 2,600

e n e r g y t o f i n d c o n s e n s u s a n d get things d o n e , t h e results of t h e e f f o r t m a k e t h e j o u r n e y

community painters, Shreveport, La., 2000.

Insiders

Photo by Neil Johnson, courtesy the Shreveport Regional Arts Council

and

worthwhile.

outsiders

both

have

advantages: W o r k i n g i n h i s h o m e t o w n a l l o w e d W i l l i a m

Healthy partnerships are built on trust: C o m m u n i t y e n g a g e m e n t is c o l l a b o r a t i o n i n t e n s i v e . SLIC-

C o c h r a n to invest the t i m e a n d e n e r g y h e n e e d e d cultivate

community

leaders

and

engage

his

diverse

cessful p a r t n e r s learn q u i c k l y that t h e d r i v i n g force in

c o m m u n i t y . V i s i t i n g artists w i t h o u t this a d v a n t a g e

f r u i t f u l r e l a t i o n s h i p s is t r u s t b u i l t o n d e e d s a n d p r a c t i c e ,

r e l y 011 c o m m u n i t y - b a s e d s p o n s o r s t o g e n e r a t e t h e n e c -

must

n o t w o r d s . T h e y also k n o w that t r u s t - e n g e n d e r i n g p r a c -

essary r e s o u r c e s a n d r e l a t i o n s h i p s . Yet o n e

t i c e is c h a r a c t e r i z e d b y t h e c o n t i n u i t y , p r e d i c t a b i l i t y , r e g -

Cochran

ularity, a n d consistency o f w o r k t o g e t h e r over t i m e . B y

accrues

"over time," I m e a n a long timeâ&#x20AC;&#x201D;years, even!

i m p o r t e d . A l t h o u g h this o u t - o f - t o w n star status t e n d s t o

Power

is as

power

does:

People

did to

not

have

imported

was

the

leverage

advantage that

artists s i m p l y b e c a u s e

often

they

d i m i n i s h f a i r l y q u i c k l y , it c a n b e u s e d t o g e t t h e

are

atten-

have

t i o n o f local officials a n d attract m u c h n e e d e d resources.

figured o u t h o w to deal effectively w i t h power. T h e y

T h e d o w n s i d e o f b e i n g a f o r e i g n b o d y is t h a t l o c a l a r t i s t s

k n o w t h a t t h o s e w h o w i e l d p o w e r are o f t e n u n a w a r e o f

o f t e n feel s n u b b e d . O n e

the extent of their privilege and thus have a difficult

w i t h a c o m p a t i b l e a n d r e s p e c t e d local artist.

involved in p r o d u c t i v e c o m m u n i t y partnerships

t i m e u n d e r s t a n d i n g a n d r e s p o n d i n g to d e m a n d s to share it. T h e y h a v e l e a r n e d t h a t b u i l d i n g t r u s t b e t w e e n m o r e a n d less p o w e r f u l is d i f f i c u l t , a n d t h a t t h e

the

greater

t h e p o w e r gap, t h e g r e a t e r t h e challenge.

a n t i d o t e has b e e n to

Time and money rule: By t h e i r very n a t u r e public art e n d e a v o r s are b o t h t i m e intensive a n d costly. A d d i n g c o m m u n i t y

engagement

into the

d r a m a t i c a l l y increases t h e w o r k l o a d in b o t h

Collaborative art-making is cumbers o m e a n d messy: P a r t i c i p a n t s i n s u c c e s s f u l c r e a t i v e c o l -

partner

w i t h t h e Community

Bridge,

large-scale

community-ori-

ented projects often find themselves r u n n i n g o n

l a b o r a t i o n s k n o w t h a t a g o o d p a r t n e r s h i p is l i k e a g o o d

I n s o m e c a s e s , t h e a r t i s t s i n v o l v e d e n d u p 011 t h e

marriage. Even

e n d o f t h e stick. Usually o n l y o n e o p t i o n

P u b l i c A r t R e v i e w . FALL.WTR.OI

though

it m a y

take

ten

times

mix

areas. As

empty. short

existsâ&#x20AC;&#x201D;beat-

i n g t h e b u s h e s f o r m o n e y f o r a w o r k t h a t is u n f i n i s h e d

t h e stakes a n d b r o a d e n t h e p l a y i n g field f o r p u b l i c

art.

a n d o v e r b u d g e t . T h e r e is n o h a r d e r f u n d - r a i s i n g c h a l -

U s i n g t e r m s like t h e s e greatly alters t h e n a t u r e o f t h e

lenge.

w o r k . I w o u l d c o n t e n d that goals like i m p r o v e d

Unfortunately, many

artists

and

communities

eco-

attracted to the idea o f w e a v i n g public participation i n t o

n o m i c o r social health i n d i c a t e t h e e m e r g e n c e o f a n e w

t h e f a b r i c o f p u b l i c a r t s e t o u t t r y i n g t o d o it o n

f i e l d e n t i r e l y , o n e I h a v e c o m e t o call a r t s - b a s e d

the

cheap. Don't!

Plan conservatively: T h e most successful projects are built o n t h o r o u g h p l a n n i n g a n d a c o n s e r -

public participation

and

interdependentâ&#x20AC;&#x201D;joined

artistic creation

there are significant a n d tangible c o m m u n i t y

t h i s c o n t e x t d o e s n o t m e a n s h o r t o r s m a l l , b u t w h a t I call

beyond

"overrealistic." For a public art project that involves o n e

kinds of c o m m u n i t y art endeavors.

community

members,

aesthetic, that

generally

mutually

at t h e h i p . It also a s s e r t s

vative b u d g e t i n g o f t i m e a n d m o n e y . " C o n s e r v a t i v e " in

hundred

commu-

nity d e v e l o p m e n t . This realm of cultural practice regards

naturally

accrue

that

benefits,

from

certain

S o , i f t h e r e is a n e w f i e l d c a l v i n g o f f o f

inflate the schedule by 50 percent and increase the over-

the public art iceberg, h o w

all b u d g e t b y o n e t h i r d .

affect h o w w e d e f i n e success or failure? For one, w e have

Free labor is expensive: Volunteers are labor intensive. C o o r d i n a t i n g

the

community-based,

u n p a i d l a b o r f o r c e f o r t h e Community

Bridge

was a full-

to citizen participants, every n e w sector that

becomes

i n v o l v e d , b e it p u b l i c safety, h u m a n s e r v i c e s , o r

commu-

t i m e j o b . D r o p p i n g t h e ball w i t h t h o s e v o l u n t e e r s w o u l d

nity development, n o w community

r e p u t a t i o n in t h e c o m m u n i t y . T h i n k t w i c e a b o u t

taking

aims

t o a c k n o w l e d g e t h a t t h e " w e " has e x p a n d e d . In a d d i t i o n

h a v e d i s s i p a t e d t h e m as a r e s o u r c e a n d r u i n e d

Cochran's

do these e x p a n d e d

work

h a s s a y as w e l l . A r t i s t s

often

find

themselves

doing

contending

with a greatly inflated range of scrutiny and j u d g m e n t .

o n f r e e l a b o r . W h e n y o u d o , m a k e s u r e its c a r e a n d f e e d -

G i v e n the difficulty of m e a s u r i n g o u t c o m e s in

i n g is i n c a p a b l e , c o m p e n s a t e d

i n s t a n c e s , s o m e fall p r e y t o c h a r g e s t h a t t h e y a r e d e a l i n g

Twenty-five

hands. years

ago

advocates

p u b l i c a r t u s e d w o r d s l i k e beautification, design

integrity,

a n d community

animation

c a s e . T h e s e d a y s t e r m s l i k e conflict economic

development,

and

quality to m a k e

in false p r o m i s e s .

life,

With

this in m i n d , t w o o b v i o u s

needs

their

for this e x p a n d i n g u n i v e r s e are t r a i n i n g a n d

public

safety,

B u t t h i s is a s u b j e c t f o r a n o t h e r a r t i c l e . S u f f i c e it t o say,

revitalization

are

resolution,

community

for

these

e m p l o y e d to a d v a n c e the cause. I d o n ' t t h i n k these assertions are necessarily s p u r i o u s , b u t t h e y d r a m a t i c a l l y raise

arts-based

community

opportunity, but

development

serious

challenges

evaluation.

offers not for the

only

growing

n u m b e r o f artists a n d c o m m u n i t i e s t h a t are h e l p i n g d e f i n e t h e field. In l i g h t o f this, t h o s e j o i n i n g the fray should p r o c e e d w i t h

contemplating

caution.

Katrine Kernanen painting one of four panels of Sebeko Centennial Mural: A Historical Vision, Marilyn Lindstrom, mural director, Sebeka, Minn., 1996-2001.

William Cleveland is the founder and director of the Center for the Study

Photo by Marilyn Lindstrom

of A r t and Community, based in Minneapolis, Minnesota.

SETTING STANDARDS?

Philip Pregill

U R I N G T H E PAST T W E N T Y - F I V E YEARS, PUBLIC ART IN T H E BUILT E N V I R O N M E N T HAS B E C O M E

an integral p a r t o f o u r c o m m u n i t i e s . Yet, d e s p i t e p u b l i c art a c h i e v e m e n t s across

t h e c o u n t r y , f e w p r a c t i c i n g artists a n d art a d m i n i s t r a t o r s c o n c e d e t h a t t h e issue

o f s t a n d a r d s i n t h e f i e l d is a n y w h e r e n e a r r e s o l u t i o n . T h i s is p a r t l y d u e t o t h e n a t u r e

t h e activity, w h i c h d e m a n d s o r i g i n a l i t y f r o m artists b u t m u s t also r e s p o n d t o t h e p h y s i cal a n d c u l t u r a l r e q u i r e m e n t s o f a s p e c i f i c c o n t e x t . T h u s , if a n y q u a l i t y c u r r e n t l y d e f i n e s s t a n d a r d s i n p u b l i c a r t t o d a y , it is t h e e v o l v i n g , s o m e t i m e s e q u i v o c a l m a k e u p o f t h e o r d i nances, contracts, and c o m p l i a n c e strategies that help drive the p h e n o m e n o n .

Eventu-

ally, a n y c o n s e n s u s a b o u t s t a n d a r d s w i l l d e p e n d o n t h e l e s s o n s l e a r n e d t h u s f a r b y l a r g e a n d small c o m m u n i t i e s that have m a n a g e d to balance public art objectives w i t h

the

public well-being. In m a n y ways, standards h e l p to assure a level o f artistic quality

com-

m e n s u r a t e w i t h t h e n a t u r e o f t h e entities t h e y serve. Ideally, s t a n d a r d s s h o u l d g i v e artists the f r e e d o m to respond to the physical and cultural conditions of a place, o f t e n

e n c o u r a g i n g the use of innovative materials and pertinent cultural symbols.This f r e e d o m t o e x p l o r e a n d t o r e s p o n d directly t o t h e c u e s o f a site t e n d s t o lessen t h e possibility g e n e r i c a r t w o r k s t h a t d o little t o e n c o u r a g e c o m m u n i t i e s t o r e f l e c t u p o n t h e i r

circum-

stances. F o r this r e a s o n , o n e o f t e n h e a r s a refrain f r o m art a d m i n i s t r a t o r s t h a t e n d o r s e s t h e n e e d f o r b r o a d standards, b u t n o t at t h e e x p e n s e o f artistic a n d a d m i n i s t r a t i v e flexibility. P r o m i n e n t a m o n g t h e c u r r e n t d i s c u s s i o n a b o u t s t a n d a r d s is t h e

matter

o f c o n t r a c t s . E a r l y i n t h e d e v e l o p m e n t of p u b l i c a r t p r o j e c t s i n t h e U n i t e d S t a t e s , c o n tractor's a g r e e m e n t s w e r e often the m o d e l for fashioning a contract b e t w e e n

communi-

ties a n d artists. F o r a t i m e t h e utility o f this a p p r o a c h m a d e sense, d u e t o t h e n o v e l t y t h e e n d e a v o r a n d r e l a t i v e l y u n t e s t e d r e s u l t s . H o w e v e r , as t h e c o m p l e x i t y o f p u b l i c projects, both

conceptually a n d materially, increased, these u n i f o r m contracts

b e c o m e anachronistic a n d u n d e r s c o r e t h e n e e d f o r m o r e sophisticated legal

of art

have

mecha-

nisms. S o m e p u b l i c art entities have r e s p o n d e d by e m p l o y i n g c o m p o u n d contracts, such as t h o s e u s e d b y t h e L o s A n g e l e s M e t r o p o l i t a n T r a n s i t A u t h o r i t y ( M T A ) . P u b l i c

artists

w h o are selected to w o r k for the a g e n c y e n t e r i n t o an a g r e e m e n t that i n c l u d e s a design c o n t r a c t , w h i c h is s u b j e c t t o r e v i e w , a n d a f a b r i c a t i o n c o n t r a c t t h a t c o v e r s

construction

o t t h e w o r k . M a y a E m s d e n , p u b l i c a r t a d m i n i s t r a t o r f o r t h e MTA, m a i n t a i n s t h a t m u l t i p l e c o n t r a c t s a l l o w f o r t h e i n c l u s i o n o f s u b s i d i a r y i s s u e s s u c h as a c o n s e r v a t o r ' s r e v i e w o f (top) Mike Mandel, Parking at the

t h e w o r k , l i m i t e d warranties, m a i n t e n a n c e , a n d insurance. F o r t h e artist, this

approach

Courthouse, Florida/Kennedy

can b e formidable, especially w h e n saddled w i t h the n e e d to b e personally

bonded,

Parking Garage,Tampa, Fla., 2001.

w h i c h c a n b e a n e x p e n s i v e a n d t i m e - c o n s u m i n g p r o c e s s . In r e s p o n s e , E m s d e n

suggests

Photo by Mike Mandel

t h a t t h e r e is a c a s e f o r a n a t i o n a l c l e a r i n g h o u s e t h a t w o u l d p r o v i d e b o n d i n g f o r a r t i s t s

( b o t t o m ) Gilbert "Magu" Lujan,

w o r k i n g in the public realm. Regardless, the division of contracts appears to s u p p o r t an

Hollywood/Vine Metro Rail

o r g a n i z e d a n d accountable public art process.

Station, sculptural bench,

O t h e r larger c o m m u n i t i e s have a p p r o a c h e d the matter of standards in

Los Angeles, Calif., 1999. Photo by Tom Bonner; courtesy MTA

public art w i t h

Metro A r t

public art o r d i n a n c e that delineates i n t e n t , p a r t i c i p a t i o n , a n d results. In r e s p o n s e to t h e

equally creative strategies. T h e

city o f T a m p a , Florida, instituted

P u b l i c A r t R e v i e w . fALL.WTR.OI

i®

m s

S I 1 I I1®

V '."•'' r .'">••

rXtm 'iiiiiMl!

I |..Minimi •tilllllllll* I MIL.I

illinium • '••IMIIIMIil iiiii ' "Minimi); ',"'•11111

•Miai'i'i)

ill

Sheila Klein, Hollywood/Highland Metro Rail Station, sculptural light

U n l i k e T a m p a a n d Los Angeles, smaller

sconces attached to platform columns, Los Angeles, Calif., 2000.

c o m m u n i t i e s that are w r e s t l i n g w i t h t h e issue o f s t a n -

Photo by Tom Bonner; Courtesy MTA Metro A r t

d a r d s a r e o f t e n b u r d e n e d w i t h m o d e s t b u d g e t s . T h i s is ordinance, the Tampa

Public Art Program

Guidelines

n o t t o i m p l y t h a t t h e p u b l i c a r t r e s u l t s a r e less e n g a g i n g ,

a p p e a r e d in 2 0 0 0 to facilitate t h e p u b l i c art process f o r

r a t h e r t h e i n c l u s i o n o f p u b l i c art in t h e d e v e l o p m e n t

the community. T h e

smaller c o m m u n i t i e s

guidelines cover the usual

phases

o f the public art process f r o m i n t e n t to contracts fees, design

development, and post-installation

and

issues.

d e p e n d s m o r e on relative j u d g -

m e n t than codified standards. C l a r e m o n t , typifies the c u r r e n t situation for smaller

California,

communities,

Together, the ordinance and the guidelines represent an

w i t h a local o r d i n a n c e that specifies t h e inclusion of a

o r d e r e d p r o c e d u r e f o r t h e d e v e l o p m e n t o f p u b l i c art in

p u b l i c a r t w o r k as a n a c c o m p a n i m e n t t o

Tampa.

The

Copyrights,

fees, p a y m e n t s ,

and

arbitration

o r d i n a n c e is f a i r l y t h o r o u g h

a p p e a r in t h e d o c u m e n t s . T h e qualitative aspects o f t h e

includes

p r o c e s s a r e less d e f i n e d a n d fall t o s p e c i f i c r e v i e w

process," a n d " a r t w o r k standards." T h e first t h r e e

com-

"purpose,"

"financial

development.

i n its c o v e r a g e

allocations,"

and

"review provi-

m i t t e e s that are responsible for o v e r s e e i n g t h e quality ot

sions are r o u t i n e a n d specify t h e developer's responsibil-

a proposal. H e r e the o r d i n a n c e treads familiar

ity

ground,

furnish

artwork

or,

alternative,

w i t h the m a t t e r o f quality left to t h e scrutiny o f p a r t i c -

c o n t r i b u t e t o a c o m m o n c o m m u n i t y f u n d f o r t h e arts.

i p a t i n g c o m m i t t e e m e m b e r s . L e s s c l e a r is t h e g u i d e l i n e ' s

T h e last p o i n t , " a r t w o r k s t a n d a r d s , " is t h o r o u g h

r e f e r e n c e t o " c o m m u n i t y g r o u p s " as p a r t o f t h e

requirements and includes provisions for materials, orig-

review

i n its

process, including the constituency a n d charge of such

inality, m a i n t e n a n c e , p r o p r i e t o r s h i p , a n d r e v i e w b y

groups. Similar to the

MTA s t r a t e g y ,

the

community

appear to specify a staging for public

art

p r o c e s s , in t u r n , is e q u a l l y s p e c i f i c a n d d e f i n e s r e s p o n s i -

projects, including t w o or three phases, d e p e n d i n g

bility, c o m p l i a n c e , a n d a p p r o v a l . In cases w h e r e t h e city

ordinance

c o n t r a c t s d i r e c t l y w i t h an artist t o p r o d u c e an a r t w o r k in

guidelines

Los Angeles

the complexity

o f t h e p r o j e c t . In s u m

and

achieve

guidelines

attempts

level

the

governance

that

to define critical t e r m s and c o n d i t i o n s

of a

architectural

commission.

The

the

a p u b l i c l o c a t i o n , an ad h o c task f o r c e t h a t members

review

includes

of the c o m m u n i t y , design professionals, and

p r o j e c t , b u t l e a v e s m o r e o p e n - e n d e d t h e i s s u e of d e s i g n

arts a d m i n i s t r a t o r s c o n v e n e s t o o v e r s e e t h e c o n d u c t

quality and aesthetics.

the project. A c c o r d i n g to Francine Baker, art consultant

P u b l i c A r t R e v i e w . FALL.WTR.OI

Mike Mandel, Parking at the Courthouse, ceramic tile mural,

v a n c e t o its c o n t e x t . A n a r t f a c i l i t a t o r m a y a l s o

Florida/Kennedy Parking Garage,Tampa, Fla., 2001.

work

w i t h the d e v e l o p e r s t e a m to head off g e n e r i c public art

Photo by Mike Mandel

proposals and to insure that the w o r k to t h e c o m m u n i t y , t h e p r e s e n c e o f a task

force

is d u r a b l e

and

currently

r e l a t e d t o t h e site. A s f u r t h e r e v i d e n c e o f

Claremont's

commis-

commitment

community

e l i m i n a t e s t h e n e e d for a n a d d i t i o n a l o v e r s i g h t

t o its p u b l i c a r t p r o c e s s , t h e

s i o n a n d is t h e l i k e l y s t r a t e g y f o r m a n a g i n g s p e c i f i c p r o j -

recently c o n v e n e d an internal i n f o r m a t i o n session led by

ects in t h e foreseeable f u t u r e .

an o u t s i d e p u b l i c art c o n s u l t a n t t h a t s u c c e e d e d in b r o a d -

H o w w e l l t h i s a p p r o a c h w o r k s for c i t i e s and

smaller

communities

depends

a key

factor:

process. W h e r e a s process o f t e n derives f r o m the p l a n n i n g

e n i n g t h e c o m m u n i t y ' s p e r c e p t i o n of p u b l i c a r t , a m o v e that should have long-range implications for their public art process a n d standards.

stages specified in t h e g u i d e l i n e s o f larger c o m m u n i t i e s , it m a y b e less f o r m a l l y d e f i n e d i n s o m e s m a l l e r

Assuring c o m p l i a n c e in the

production

commu-

o f a p u b l i c a r t w o r k t h r o u g h p r o c e s s a n d o v e r s i g h t is o n l y

nities. Yet process o f t e n benefits f r o m t h e scale o f art

p a r t o t t h e s t a n d a r d s i s s u e . O n c e a w o r k is n e a r c o m p l e -

a d m i n i s t r a t i o n in s m a l l e r c o m m u n i t i e s b y e n g a g i n g

tion, s t e w a r d s h i p ot t h e p i e c e b e c o m e s a l o n g - r a n g e task

attention o f a b r o a d s p e c t r u m o f the local

the

population,

tor c o m m u n i t i e s . I n c l u d e d in this p h a s e are

warranties

m a n y o f w h o m assume a nearly paternalistic interest in

a n d m a i n t e n a n c e , w h i c h cast a s h a d o w o v e r t h e viability

the quality o f their local public art. In C l a r e m o n t ,

of any public art project, and constitute a significant part

the

c o m m u n i t y relies o n t h e o v e r s i g h t f u n c t i o n o f c o m m i s -

of public art administration. Warranties exist to

limit

sions o r ad h o c art task f o r c e c o m m i t t e e s . T h e

vandalism and deterioration, although they often

cover

require-

m e n t that developers either p r o d u c e a public artwork in

relatively s h o r t p e r i o d s o f t i m e in t h e life o f a p i e c e . T w o

c o n j u n c t i o n w i t h a project or c o n t r i b u t e a s u m to

y e a r s is a t y p i c a l t i m e f r a m e , s i n c e m a n y f a b r i c a t o r s a r e

the

g e n e r a l p u b l i c a r t p o o l is l i n k e d t o o v e r s i g h t p r o c e d u r e s

reluctant

t h a t , as a r t a d m i n i s t r a t o r

i n s t a n c e s , s u c h as t h e o n g o i n g L o s A n g e l e s MTA p r o j e c t s ,

communication

between

Bell N e w m a n

notes, foster

developers and the

commu-

nity. F o r e x a m p l e , d e v e l o p e r s a n d t h e i r d e s i g n e r s evolve the artwork along with the project design d e v e l o p m e n t process, thus assuring the a r t w o r k s

must and rele-

guarantee

beyond

this

point.

some

a public a r t w o r k m a y b e c o m p l e t e d b e f o r e the final c o n struction

o f a m e t r o site a n d b e f o r e p u b l i c use, t h u s

c o m p l i c a t i n g the quality o f a warranty. In o t h e r venues, municipalities have limited the scope of materials

that

P u b l i c Art R e v i e w . FALL.WTR.OI

a r r a n g e m e n t t h a t m i g h t a p p l y t o p u b l i c a r t , it is t h e n e e d for

flexibility

in t h e c o n s t i t u t i o n o f s u c h standards. Also,

a good proportion ments between

of design c o m m i s s i o n s are

agree-

p r i v a t e c l i e n t s a n d d e s i g n e r s . In

instances design standards tend to focus o n

these

compliance

a n d areas of r e s p o n s i b i l i t y i n d e p e n d e n t o f b r o a d e r p u b l i c issues. B u t in t h e p u b l i c r e a l m , c o m p l i a n c e a n d liability a r e o n e s i d e o f t h e e q u a t i o n t h a t is b a l a n c e d b y t h e n e e d f o r p r o m o t i n g t h e p u b l i c g o o d in t h e arts. The required

widest

range

to achieve resolution

art. O v e r

input

o n s t a n d a r d s in

t h e past several years, nationally

arts associations

have assumed

may

public

constituted

the challenge

and

w o r k i n g t o b r i n g t h e issue i n t o f o c u s . T h e m o s t e v i d e n c e o f this e f f o r t rests w i t h

are

recent

the Public Art

Net-

w o r k (PAN) a n d its a f f i l i a t e s w h o h a v e b u i l t t h e g e n e r a l i s s u e of s t a n d a r d s i n t o a r e c e n t n a t i o n a l c o n f e r e n c e . T h e July 2001

assembly, a p r e c o n f e r e n c e to t h e

Americans

for t h e Arts' a n n u a l g a t h e r i n g , i n c l u d e d sessions engaged

May Sun, Hollywood/Western Metro Rail Station,

conversations

subsequent

that ceramics be used for subway engage

issues, form

debate may

then

station

F r o m t h i s p o i n t , it w o u l d b e a s h o r t d i s t a n c e t o t h e r e s -

compliance

w i t h m a i n t e n a n c e plans that may be part of a contract, including the furnishing of maintenance

conferences. Subsequent

i n c l u d e t o p i c s s u c h as m u l t i p l e c o n t r a c t s a n d i n d e m n i t y .

conservators

o v e r s e e m a i n t e n a n c e issues a n d to m o n i t o r

manuals

olution

of many

clearinghouse

issues, i n c l u d i n g t h e i n s t i t u t i o n o f a

t o r artists s e e k i n g a b o n d

for a specific

public art project.

W h i l e the public art c o m m u n i t y

pro-

a r t i s t s . T h e T a m p a o r d i n a n c e , f o r e x a m p l e , deals w i t h the

ceeds w i t h the m a t t e r of standards, o n e can detect a c o n -

maintenance standard by requiring a "maintenance

sensus b u i l d i n g a m o n g public art administrators

and

that

inventory sheet" that delineates "cost projections" and

includes an evolving appreciation for the

"care of the artwork." By extension, such

aspects o f standards in the public art process. C o n t r a c t s ,

requirements

mechanical

m a k e c o m m u n i t i e s sensitive to c o p y r i g h t a n d replication

oversight,

issues. B e c a u s e a w o r k

i s s u e s all c o n t r i b u t e a d e g r e e o f c o n f o r m i t y a n d p r o t e c -

constitutes an original

effort,

c o m m u n i t i e s seek to protect a c o m m i s s i o n e d w o r k f r o m c o p y r i g h t p r o b l e m s , itself a f o r m o f m a i n t e n a n c e ostensibly shields the c o m m u n i t y f r o m

that

appropriation

and reiteration of an artwork in a n o t h e r venue.

compliance,

warranties,

and

maintenance

tion w h e r e p u b l i c m o n e y a n d o p i n i o n are

concerned.

B u t if a n y t h i n g c a n b e g l e a n e d f r o m t h e allied professionsâ&#x20AC;&#x201D;architecture and landscape

design

architectureâ&#x20AC;&#x201D;

such standards can blunt the creative edge and

W i t h all t h e s e d i v e r s e a p p r o a c h e s , o r d i -

art

City's

m a y b e e m p l o y e d i n a w o r k , s u c h as N e w Y o r k

communities

t h e basis f o r a m o r e specific t r e a t m e n t o f s t a n d a r d s

Photo by Tom Bonner, courtesy MTA Metro A r t

projects. M a n y

a range

i n c l u d i n g aspects o f standards. T h e o u t c o m e will

Red Car replicas overlooking platform, Los Angeles, Calf., 1999.

requirement

about

that

generic works that add to the standardization

nances, and procedures a c c o m p a n y i n g the larger public

built e n v i r o n m e n t . H o w e v e r , along with the

a r t a g e n d a , it's n o t s u r p r i s i n g t o h e a r t h e call f r o m s o m e

tion for mechanical

yield of

our

apprecia-

aspects of standards, there

exists

q u a r t e r s f o r m o r e u n i f o r m s t a n d a r d s , o r at least a f r a m e -

a n o t h e r p r i o r i t y w i t h i n t h e p u b l i c art c o m m u n i t y

that

w o r k that can b e applied to a r a n g e o f public art situa-

calls f o r d u e a t t e n t i o n t o f i n e s s e , t h r o u g h m u l t i p l e

con-

t i o n s . S o m e d e s i g n p r o f e s s i o n s , s u c h as a r c h i t e c t u r e

and

tracts a n d d e v e l o p e r - c o m m u n i t y c o l l a b o r a t i o n s , that will

mechanisms

assure o r i g i n a l i t y a n d sustain c r e a t i v i t y in t h e m a k i n g o f

landscape

architecture,

maintain

such

through licensure and project contracts. For the

most

public art. A p p r o p r i a t e l y , t h e i m m e d i a t e c h a l l e n g e

part, these exist to r o u g h l y insure general p r o j e c t

com-

t h e p u b l i c a r t c o m m u n i t y is t o m a i n t a i n t h i s

pliance

and

limit

liability. Q u a l i t y

and

aesthetics

for

equitable

b a l a n c e b e t w e e n c o m p l i a n c e a n d creativity.

remain the p u r v i e w of the client, t h o u g h the r e p u t a t i o n of the designer may w e i g h heavily o n the matter of f o r m

Philip Pregill is the chair of landscape architecture at California Polytechnic

and

at Pomona and co-author of Landscapes in History.

f u n c t i o n . If a n y t h i n g

P u b l i c Art R e v i e w . FALL.WTR.OI

can

gleaned

from

this

PROJECT

HAZARDOUS TRAIL TO A LASTING LEGACY

Frederick MacMonnies, Pioneer

By G r e g Esser • • •

Monument, c. 1920s. Photo courtesy Denver Public Library. W e s t e r n History Department

D e b a t e over t h e r e p r e s e n t a t i o n o f race in a w o r k o f art, c o n -

o f D e n v e r . T h e h o r s e stable that s e r v e d t h e n e a r b y fire station

troversy f u e l e d by t h e m e d i a over an artist's proposal, p r o j e c t

h o s e h o u s e w a s c o n s i d e r e d u r b a n b l i g h t b y his b a n k . T h e

delays, cost o v e r r u n s . T h e s e s c e n a r i o s m a y o c c u r all t o o o f t e n

horses c r e a t e d an u n p l e a s a n t o d o r a n d t h e i r m a n u r e p o l l u t e d

in p u b l i c art today, b u t t h e y also d e s c r i b e t h e c o m m i s s i o n i n g

t h e streets. M o t o r i z e d fire e n g i n e s w e r e b e g i n n i n g to r e p l a c e

o f o n e o f t h e first significant w o r k s o f art in t h e state o f C o l -

those d r a w n by horses. T h e solution to Weir's

o r a d o . T h e o r i g i n a l c o r r e s p o n d e n c e , articles, a n d r e c o r d s relat-

P u b l i c art.

problem?

ing to Denver's Pioneer M o n u m e n t , m a n y excavated f r o m a f o r g o t t e n t i m e capsule b e n e a t h its base in 1983, p r o v i d e b o t h a c o m p e l l i n g w i n d o w i n t o t h e e f f o r t nearly a c e n t u r y a g o to c o m m i s s i o n a s i g n a t u r e w o r k o f art a n d an i n t r i g u i n g c o m p a r ison w i t h h o w p u b l i c art is c o m m i s s i o n e d today. W a t e r a n d m o i s t u r e d a m a g e d m a n y o f t h e o r i g i n a l p a p e r s c o n t a i n e d in the t i m e capsule, but the i n f o r m a t i o n preserved

through

c o p i e s is n o w h o u s e d in t h e D e n v e r Public Library.

In o r d e r t o e l i m i n a t e t h e stables. W e i r h a t c h e d a s c h e m e w i t h t h e D e n v e r R e a l Estate E x c h a n g e P u b l i c I m p r o v e m e n t C o m m i t t e e . L a n d at a n o t h e r l o c a t i o n was p u r c h a s e d b y t h e c o m m i t t e e a n d d o n a t e d f o r a n e w fire station t o allow t h e site o f t h e h o s e h o u s e t o b e u s e d by t h e city f o r t h e p u r p o s e o f e r e c t i n g a p u b l i c m o n u m e n t . R o b e r t W. Speer, t h e n m a y o r o f D e n ver, h a d final say over t h e use o f t h e site a n d h a p p e n e d t o b e a m e m b e r o f t h e c o m m i t t e e . T h e site f o r t h e n e w m o n u m e n t ,

In 1 8 9 8 , G i l b e r t R . W e i r , a p r o m i n e n t b u s i n e s s m a n , w a s

k n o w n as Bates T r i a n g l e , was l o c a t e d in t h e h e a r t o f D e n v e r

u n a b l e to g e t a loan against a b u i l d i n g h e o w n e d in t h e h e a r t

b e t w e e n Broadway, Colfax Avenue, and C h e y e n n e

Street,

PROJECT

Laying of the cornerstone of the Pioneer Monument, March 30, 1910. Photo courtesy Denver Public Library, W e s t e r n History Department

m i d w a y b e t w e e n t h e State C a p i t o l a n d t h e D e n v e r C i t y a n d

A u g u s t u s St. G a u d e n s , D a n i e l C h e s t e r F r e n c h , L o r e d o Taft,

C o u n t y B u i l d i n g . It also m a r k e d t h e a p p r o x i m a t e t e r m i n u s o f

and Frederick M a c M o n n i e s , to d e t e r m i n e the most appropri-

the Smoky

ate size, cost, a n d process to select t h e best artist for t h e c o m -

H i l l Trail, an early t r a d e r o u t e i n t o

Denver.

T h r o u g h these m a c h i n a t i o n s , W e i r was able to o r c h e s t r a t e t h e

mission. Responses

d e m o l i t i o n o f t h e fire station, t h e r e b y i n c r e a s i n g t h e value o f

b r o c h u r e . O n e o f t h e c o n c l u s i o n s was, " T h a t it is inadvisable

were

summarized

fund-raising

his p r o p e r t y . S u c h deals w e r e n o t u n c o m m o n i n D e n v e r ' s

to solicit designs t h r o u g h c o m p e t i t i o n , as able artists usually

early days.

have e n o u g h t o d o w i t h o u t e n t e r i n g i n t o c o m p e t i t i v e w o r k . " L o r e d o Taft was q u o t e d as saying that " t o p u t u p bad s c u l p t u r e

T h e o r i g i n a l plan f o r t h e m o n u m e n t w a s t o h o n o r J o h n

is u n c a l l e d f o r a n d a c r i m e . "

Evans, g o v e r n o r o f t h e C o l o r a d o T e r r i t o r y f r o m 1862 t o 1865 a n d a key l e a d e r in t h e e f f o r t t h a t b r o u g h t t h e first train i n t o

T h e c o m m i t t e e first s e l e c t e d A u g u s t u s St. G a u d e n s , w h o

D e n v e r in J u n e 1870. Instead, t h e c o m m i t t e e c h o s e to h o n o r

d e c l i n e d b e c a u s e o f failing h e a l t h . M a c M o n n i e s , St. G a u d e n s ' s

C o l o r a d o ' s early p i o n e e r s , m a n y o f w h o m w e r e still living in

f o r m e r s t u d e n t , was t h e n e x t c h o i c e d e s p i t e t h e f a c t t h a t

t h e state at t h e t i m e . O n l y fifty years earlier, a small g r o u p led

a n o t h e r artist, A l e x a n d e r P h i m i s t e r P r o c t o r , had g r o w n u p in

by W i l l i a m G r e e n e R u s s e l l h a d f o u n d e d t h e

encampment

C o l o r a d o a n d was far m o r e familiar w i t h t h e daily reality o f

a l o n g t h e c o n f l u e n c e o f t h e Platte R i v e r a n d C h e r r y C r e e k ,

t h e fledgling p i o n e e r c o m m u n i t y in D e n v e r . As a child. P r o c -

an I n d i a n r e n d e z v o u s site that u l t i m a t e l y b e c a m e D e n v e r . T h e

t o r had played in t h e area w h e r e t h e P i o n e e r M o n u m e n t was

c o m m i t t e e felt it w o u l d b e far easier t o raise f u n d s f o r p i o -

eventually placed a n d h a d seen U t e Indians r i d e i n t o t o w n o n

n e e r s , a g r o u p close to t h e h e a r t s o f D e n v e r ' s early citizens,

h o r s e b a c k . M a c M o n n i e s , an A m e r i c a n living in France, was

t h a n f o r a m o n u m e n t t o a single p e r s o n , h o w e v e r significant

i n t e r n a t i o n a l l y r e n o w n e d a n d h a d b e e n c o m m i s s i o n e d by t h e

t o t h e city's history.

U n i t e d States t o create France Defiant,

a seventy-foot marble

s c u l p t u r e p r e s e n t e d to F r a n c e in a p p r e c i a t i o n f o r t h e gift o f J o h n S. F l o w e r , c h a i r m a n o f t h e c o m m i t t e e , s e n t l e t t e r s o f

t h e S t a t u e o f Liberty. His o n l y e x p e r i e n c e o f N a t i v e A m e r i -

i n q u i r y t o parks b o a r d s , arts c o m m i s s i o n s , a n d f o u n d r i e s o n

cans had b e e n s e e i n g t h o s e w h o traveled to E u r o p e w i t h B u f -

t h e East C o a s t a n d to l e a d i n g s c u l p t o r s o f t h e day, i n c l u d i n g

falo Bill C o d y ' s W i l d West Show.

PROJECT

Dedication of Pioneer Monument, June 24, 191 I. Photo courtesy Denver Public Library, Western History Department

that

f o u n t a i n , w i t h his p a l m e x t e n d e d in a g e s t u r e o f p e a c e . In an

w o u l d cost a p p r o x i m a t e l y $ 3 5 , 0 0 0 , t h e total t h a t h a d b e e n

F l o w e r a n d his c o m m i t t e e h a d s o u g h t a m o n u m e n t

o p e n letter t o t h e p u b l i c s u b m i t t e d w i t h a c o p y o f t h e p r o p o s a l

raised. Yet a f t e r o f f e r i n g M a c M o n n i e s

drawing, c o m m i t t e e chairman Flower referred to M a c M o n -

$ 5 0 , 0 0 0 , t h e artist r e s p o n d e d in a letter w r i t t e n t o t h e c o m -

a commission

nies' d e c i s i o n t o i n c l u d e t h e I n d i a n as a "sad mistake," a d d i n g

m i t t e e o n S e p t e m b e r 28, 1 9 0 6 : " I realize t h a t t h e d i f f e r e n c e o f

that M a c M o n n i e s " h a s n o love f o r t h e savage r e d s k i n . "

artistic value s e e m s a slight m a t t e r n o w , p e r h a p s , as c o m p a r e d w i t h t h e d i f f e r e n c e in p r i c e , b u t t h e m o n u m e n t m a y last f o r

M a c M o n n i e s was n o stranger t o controversy. R e n o w n e d a r c h i -

c e n t u r i e s , w h e n , it is t o b e h o p e d , t h e e x t r a s u m will have

t e c t C h a r l e s M c K i m d o n a t e d a s c u l p t u r e b y M a c M o n n i e s as

been paid off and forgotten

p a r t o f his design f o r t h e B o s t o n P u b l i c Library. T h e b r o n z e

In r e g a r d t o t h e c o s t o f m y

larger design $ 8 0 , 0 0 0 , I d o u b t . . . i f any c o n t e m p o r a r y s c u l p t o r

d e p i c t e d a n u d e w o m a n h o l d i n g an i n f a n t child o n o n e a r m a n d

w o u l d b e able t o p u t u p as e l a b o r a t e a w o r k f o r t h e s a m e

a b u n c h o f grapes in t h e o t h e r h a n d . O u t r a g e d B o s t o n i a n s w e r e

a m o u n t . H o w e v e r , f e e l i n g so strongly t h e i m p o r t a n c e o f d o i n g

o f f e n d e d by t h e i m p l i c a t i o n that t h e w o m a n was t e m p t i n g t h e

a d e q u a t e j u s t i c e to s u c h a s u b j e c t , I a m w i l l i n g to risk a p o s s i -

child w i t h t h e illicit pleasures o f a l c o h o l . T h e title, Bacchante

ble loss a n d u n d e r t a k e t h e large design f o r $ 7 0 , 0 0 0 ; if y o u r

Infant

with

Faun, d i d n o t h i n g t o a s s u a g e this i n t e r p r e t a t i o n . T h e

c o m m i t t e e o n t h e i r p a r t will raise that s u m t h e final p a y m e n t

o b j e c t o r s w h o signed p e t i t i o n s i n c l u d e d t h e p r e s i d e n t o f H a r -

c o u l d even b e p o s t p o n e d t o suit t h e i r c o n v e n i e n c e . " T h e c o m -

vard U n i v e r s i t y . T h e w o r k a r o u s e d so m u c h c o n t e m p t a n d ire o n

m i t t e e u n a n i m o u s l y a g r e e d to t h e h i g h e r cost.

t h e p a r t o f t h e p u b l i c that it was u l t i m a t e l y r e m o v e d a n d placed in t h e M e t r o p o l i t a n M u s e u m o f A r t in N e w York. In N o v e m b e r

T h e design o f t h e m o n u m e n t was left entirely to M a c M o n n i e s .

2 0 0 0 , over a c e n t u r y later, a c o p y o f t h e statue was p l a c e d in t h e

In F e b r u a r y 1907, w h e n his initial p r o p o s a l f o r t h e m o n u m e n t

c e n t e r o f t h e f o u n t a i n w h e r e M c K i m h a d o r i g i n a l l y i n t e n d e d it

was delivered to the c o m m i t t e e , a s t o r m of

as p a r t o f t h e B o s t o n Public Library's r e n o v a t i o n o f t h e M c K i m

controversy

erupted. M a c M o n n i e s had designed a tiered, hexagonally

b u i l d i n g in C o p l e y Square.

s h a p e d f o u n t a i n w i t h figures r e p r e s e n t i n g a h u n t e r a n d trapper, a p r o s p e c t o r , and a p i o n e e r m o t h e r . B u t t h e c r o w n i n g f i g u r e o f

D e n v e r ' s p i o n e e r s , in a c o n t r o v e r s y largely f u e l e d by t h e n e w s -

t h e proposal was a n u d e I n d i a n o n h o r s e b a c k at t h e t o p o f t h e

p a p e r s , expressed h o r r o r that t h e e n e m y t h e y h a d f o u g h t so

PROJECT

Watercolor of original design for the Pioneer Monument, 1907. Photo courtesy Denver Public Library, Western History Department

d i l i g e n t l y t o settle t h e W e s t s h o u l d b e i n c l u d e d at all o n a m o n u m e n t in t h e i r h o n o r . T h e m a l i c i o u s t e n o r o f t h e n e w s e d i t o r i a l s at t h e t i m e reveals t h e e x t e n t t o w h i c h w h i t e s n e v e r q u e s t i o n e d t h e i r r i g h t t o t h e expression o f t h e i r p e r s p e c t i v e t h r o u g h p u b l i c m o n u m e n t s . M a n y o f t h e p i o n e e r s still living in C o l o r a d o at t h e t i m e h a d s l a u g h t e r e d N a t i v e A m e r i c a n s in t h e w a r t o take t h e i r land. F r o m M a c M o n n i e s ' p o i n t o f v i e w as an A m e r i c a n living in France, I n d i a n s w e r e m e r e l y a r o m a n tic oddity, a n o t h e r race o f s u b j e c t s in t h e w a n i n g age o f c o l o nialism. Native A m e r i c a n s w e r e a c o n t i n u i n g presence and active p a r t o f D e n v e r at t h e t i m e , b u t t h e y w e r e n e v e r given a n y v o i c e in t h e d e b a t e o v e r t h e r e p r e s e n t a t i o n o f a h i g h l y r o m a n t i c i z e d I n d i a n dressed o n l y in a h e a d d r e s s . N o r e c o r d r e m a i n s o f N a t i v e A m e r i c a n o p i n i o n , n o t u n u s u a l in an era w h e n t h e U.S. D e p a r t m e n t o f W a r was still r u n n i n g I n d i a n s c h o o l s m e a n t t o destroy native c u l t u r e s t h r o u g h assimilation. A f t e r finally m a k i n g a t r i p t o D e n v e r in A u g u s t 1 9 0 7 , M a c M o n n i e s reluctantly consented to change the crowning figure o n his f o u n t a i n . T h e m a n y p i o n e e r s w i t h w h o m M a c M o n n i e s m e t suggested pioneer scout Kit C a r s o n . T h e remarkable similarity o f b o t h the C a r s o n figure's stance (with t h e same e x t e n d e d h a n d n o w p o i n t i n g t h e w a y West) and his h o r s e m a y i n d i c a t e that M a c M o n n i e s h a d already s c u l p t e d t h e I n d i a n f i g u r e at t h e t i m e t h e c o n t r o v e r s y over it

flared.

T h e t o t a l a m o u n t d o c u m e n t e d by t h e D e n v e r R e a l E s t a t e E x c h a n g e as e v e n t u a l l y b e i n g s p e n t o n t h e m o n u m e n t was $ 7 2 , 1 1 4 . 6 8 . T h e final b u d g e t f o r t h e p r o j e c t , i n c l u d e d a m o n g t h e d o c u m e n t s in t h e t i m e capsule, details e x p e n d i t u r e s i n c l u d i n g $ 2 , 6 8 4 . 5 7 in p r e m i u m s against a life i n s u r a n c e policy f o r M a c M o n n i e s . M o r e interestingly, t h e b u d g e t credits t h e state o f C o l o r a d o w i t h a c o n t r i b u t i o n o f $ 1 0 , 0 0 0 , yet in t h e t i m e c a p -

U s e d in D e d i c a t i o n if Castings A r e N o t R e a d y . " M a c M o n n i e s ' letter, w h i c h a r r i v e d a f e w days later, assured t h e citizens o f D e n v e r that t h e w o r k was c o m p l e t e d a n d en route.

sule u n c o v e r e d u n d e r n e a t h t h e m o n u m e n t , a c o p y o f t h e o r i g C.

O v e r ten thousand people gathered for the dedication on J u n e

B u c h t e l a u t h o r i z e s a c o n t r i b u t i o n of $ 1 5 , 0 0 0 . Five t h o u s a n d

24, 1911, f i f t y - t h r e e years t o t h e day after t h e arrival W i l l i a m

dollars is u n a c c o u n t e d for, w h i l e t h e b u d g e t details e x p e n d i -

G r e e n e Russell's party of p i o n e e r s . A l t h o u g h u n a b l e to a t t e n d

tures as s e e m i n g l y insignificant as $ 5 . 0 0 for a pair o f b u c k s k i n

t h e d e d i c a t i o n , President Taft sent a t e l e g r a m of c o n g r a t u l a -

inal bill s i g n e d o n A p r i l 3, 1 9 0 7 , b y G o v e r n o r H e n r y

trousers, $7.50 for p h o t o g r a p h s , and $4.80 for a cablegram.

tions. A c c o r d i n g to t h e p r o j e c t b u d g e t , a d r u m c o r p s played

E i t h e r t h e state o f C o l o r a d o h a d a political c h a n g e o f h e a r t o r

m u s i c for $ 1 2 5 . 0 0 , material to d r a p e t h e m o n u m e n t was p u r -

o n e o r m o r e m e m b e r s o f t h e D e n v e r R e a l Estate E x c h a n g e

chased for $ 3 1 . 5 0 , and chair rentals cost $ 1 5 . 0 0 . P i o n e e r s f r o m

insufficiently c o v e r e d t h e tracks o f an early w h i t e - c o l l a r c r i m e .

t h r o u g h o u t C o l o r a d o traveled to t h e d e d i c a t i o n , and t h e cord to unveil t h e m o n u m e n t was p u l l e d by L e o n a W o o d , Kit C a r -

M a c M o n n i e s ' c o n t r a c t called f o r his w o r k to b e c o m p l e t e d in

son's g r a n d d a u g h t e r .

t h r e e years, w i t h a d e d i c a t i o n s c h e d u l e d f o r 1910. In D e c e m b e r 1909, M a c M o n n i e s s h i p p e d m o s t o f t h e w o r k f r o m France,

L o c a t e d in t h e heart o f D e n v e r , t h e P i o n e e r M o n u m e n t was

b u t as 1 9 1 0 c a m e a n d w e n t , t h e s c u l p t u r e still i n c o m p l e t e , t e n -

highly visible a n d well loved. For t h e first f e w years it was in

sions rose in D e n v e r . In J a n u a r y 1 9 1 1 , M a c M o n n i e s s e n t a

place, h o w e v e r , jets of w a t e r sprayed directly u p f r o m a r o u n d

t e l e g r a m t o F l o w e r i n d i c a t i n g that h e h a d sent a letter detailing

t h e lowest basin o f t h e f o u n t a i n . In 1916, less t h a n a d e c a d e

t h e rest o f t h e s h i p p i n g a r r a n g e m e n t s . T h e J a n u a r y 21 h e a d l i n e

after its d e d i c a t i o n , M a c M o n n i e s visited D e n v e r a n d n o t e d that

o f t h e Denver Financial News reads: " U n v e i l i n g P i o n e e r M o n u -

parts o f t h e w a t e r f e a t u r e n e e d e d repair. P h o t o g r a p h s f r o m t h e

m e n t Awaits M a c M o n n i e s ' Letter: Plaster D u p l i c a t e Will Be

1930s s h o w that w a t e r s t r e a m e d off t h e f o u n t a i n , over t h e side-

Public A r t R e v i e w .FALLWTR.O!

PROJECT

The Pioneer Monument, 2001. Photo by John Grant

were r e m o v e d . T h e m o n u m e n t u n d e r w e n t a m a j o r restoration in 1955 a n d was r e d e d i c a t e d in J u n e o f that year, again w i t h L e o n a W o o d in a t t e n d a n c e . A bus s t o p was l o c a t e d in f r o n t o f t h e m o n u m e n t at C o l f a x and Broadway, w h i c h had b e c o m e o n e of Denver's busiest i n t e r s e c t i o n s . In t h e late 1 9 7 0 s , it was c o m m o n f o r p e o p l e w a i t i n g f o r buses to sit o n t h e s c u l p t u r e s . T h e Parks P e o p l e , a citizen's g r o u p , u n d e r t o o k a s e c o n d s i g n i f i c a n t c o n s e r v a t i o n e f f o r t in 1 9 8 3 , at a cost o f n e a r l y $ 8 5 , 0 0 0 . A d j u s t i n g f o r i n f l a tion, the cost of the P i o n e e r M o n u m e n t today w o u l d b e a p p r o x i m a t e l y $ 1 . 3 m i l l i o n . T h e 1 9 8 3 r e s t o r a t i o n cost a r o u n d $ 1 5 0 , 0 0 0 , o r a b o u t o n e - t e n t h o f t h e c o s t t o r e p l a c e it in today's dollars. It was d u r i n g this r e s t o r a t i o n , w h i c h i n c l u d e d c h a n g e s t o t h e l a n d s c a p i n g t o p r e v e n t d i r e c t p u b l i c access t o t h e w o r k , that t h e t i m e c a p s u l e was u n e x p e c t e d l y u n c o v e r e d . T h e extensive

financial

c o m m i t m e n t t h e citizens o f D e n v e r

h a v e m a d e in r e s t o r i n g a n d p r e s e r v i n g t h e P i o n e e r

Monu-

m e n t is a t e s t a m e n t t o t h e s i g n i f i c a n t p l a c e it h o l d s in t h e city's cultural landscape. T o d a y t h e w o r k is s e e n as a t r i b u t e t o C o l o r a d o ' s early history, a n d t h e d e b a t e over t h e c r o w n i n g f i g u r e has b e e n a l m o s t e n t i r e l y f o r g o t t e n , p r e s e r v e d o n l y b y a f e w r a g g e d scraps o f c o r r e s p o n d e n c e . T h r o u g h t h e years as l i v i n g m e m o r i e s o f t h e first days o n t h e w e s t e r n f r o n t i e r h a v e f a d e d away a n d U.S. g o v e r n m e n t p o l i c y t o w a r d i n d i g e n o u s c u l t u r e s to acceptance

and

preservation, the meaning of the Pioneer M o n u m e n t

has m o v e d f r o m w a r a n d d e s t r u c t i o n

has

shifted. T h e controversy around the proposed representation o f a N a t i v e A m e r i c a n reveals a d i f f e r e n t aspect o f C o l o r a d o ' s history, o n e n o t visible in t h e m o n u m e n t itself. T h e history of the Pioneer M o n u m e n t ' s commission provides a valuable p e r s p e c t i v e o n h o w a r t w o r k is c o m m i s s i o n e d today. T h e field o f p u b l i c art has m o v e d away f r o m f r e e - s t a n d i n g m o n u m e n t s in f a v o r o f a m o r e t h o u g h t f u l a n d

integrated

approach to e n h a n c i n g public space to such a d e g r e e that e x c e l l e n c e in The

figurative

democratic

b r o n z e has a l m o s t b e c o m e a lost art. approach

selecting public

art

t h r o u g h c o m m i t t e e s , h o w e v e r , has a l l o w e d a r a n g e o f n e w artists t o have o p p o r t u n i t i e s t h a t w e r e p r e v i o u s l y unavailable t o t h e m w i t h " c l o s e d d o o r " selections. W h i l e t h e f r u s t r a t i o n o f walks a r o u n d it, a n d i n t o t h e street. F r o m t h e 1950s t h r o u g h t h e late 1980s t h e w a t e r was c o m p l e t e l y shut off.

dealing with media controversy seems to be a consistent aspect o f p u b l i c art t h r o u g h t h e years, it is also an i n d i c a t o r o f

T h e m o n u m e n t was e x e c u t e d in g r a n i t e a n d b r o n z e , t w o

tree s p e e c h a n d p u b l i c d e b a t e . T h e g r o w i n g s t r e n g t h o f t h e

materials c o n s i d e r e d t o d a y t o b e l o w m a i n t e n a n c e by p u b l i c

p l u r a l i t y o f A m e r i c a n c u l t u r e has a l l o w e d f o r e n t i r e l y

art agencies. D e s p i t e t h e use o f t h o s e materials, t h e m o n u m e n t

a p p r o a c h e s t o t h e expression o f art in p u b l i c spaces t h a t w o u l d

still r e q u i r e d s i g n i f i c a n t c o n s e r v a t i o n t w o t i m e s d u r i n g t h e

h a v e b e e n u n t h i n k a b l e a c e n t u r y ago.

new

t w e n t i e t h c e n t u r y . U r b a n i z a t i o n p o s e d g r o w i n g threats t o t h e w o r k ' s stability. P o w e r lines w e r e installed, a n d streets w e r e

Greg Esser is an artist and manager of the Phoenix Percent for A r t

w i d e n e d t o a c c o m m o d a t e i n c r e a s i n g a u t o m o b i l e traffic. Air

Program. He is also a founding member of Eye Lounge, a new artists'

pollution g r e w worse, and the sidewalks around the w o r k

collective in central Phoenix.

P u b l i c A r t R e v i e w . FALL WTR.O!

REPORT

ON THE FRONT LINE SAN JOSE By B e r i n G o l o n u

Cynthia Handel installing artwork for Meadowfair Park, San Jose, Calif., 1999.

• • •

Photo courtesy Office of Cultural Affairs

T o d a y H a r r i e t T r a u r i g h o l d s t h e title o f d i r e c t o r o f p u b l i c art

will also w o r k closely w i t h M e i e r to oversee t h e n e w civic art

f o r t h e O f f i c e o f C u l t u r a l Affairs in San Jose, b u t she recalls

gallery, w h i c h is b e i n g i n c o r p o r a t e d i n t o his a r c h i t e c t u r a l plan

h a v i n g v e n t u r e d i n t o p u b l i c art a d m i n i s t r a t i o n at a t i m e w h e n

f o r t h e plaza.

t h e r e w a s n ' t an official title f o r such an o c c u p a t i o n , w h e n , she says, " T h e r e w e r e m a y b e a b o u t t w e n t y o f us in t h e field." T o w a r d t h e b e g i n n i n g o f h e r t w e n t y - p l u s - y e a r career in p u b lic a r t , T r a u r i g p i c k e d u p an MBA in arts m a n a g e m e n t a n d s t a r t e d w r i t i n g p u b l i c a r t m a s t e r plans o u t l i n i n g v i s i o n s o f g r o w t h f o r p u b l i c art in m e t r o p o l i t a n l o c a t i o n s . In 1997 she was h i r e d as a c o n s u l t a n t f o r t h e city o f San J o s e to w r i t e a m a s t e r plan f o r 2 0 0 0 t o 2 0 0 5 , i n t e n d e d t o h e l p i n t e g r a t e t h e

T h e n t h e r e ' s t h e r e d e s i g n a n d c o n s t r u c t i o n o f San Jose's b r a n c h library system, w i t h t w e n t y n e w o r r e n o v a t e d b u i l d ings p l a n n e d across t h e city over t h e n e x t t e n years, e a c h g e n erating approximately $ 1 5 0 , 0 0 0 for a public artwork. N e w parks, c o m m u n i t y c e n t e r s , a n d m u n i c i p a l facilities to revitalize San Jose's v a r i o u s n e i g h b o r h o o d s are also in t h e w o r k s , each o f w h i c h will n e e d a p u b l i c art c o m p o n e n t .

p u b l i c art p r o g r a m w i t h t h e city's o t h e r p l a n n i n g strategies.

T r a u r i g m a n a g e s a staff o f f o u r (three p u b l i c art o f f i c e r s w h o

O n c e t h e plan was in place, h o w e v e r , city officials realized

g u i d e artists t h r o u g h every step o f a p r o j e c t a n d o n e p u b l i c art

they n e e d e d s o m e o n e with experience to help administer the

c o o r d i n a t o r w h o lends a d m i n i s t r a t i v e s u p p o r t ) to h e l p a d m i n -

$ 3 0 m i l l i o n in f u n d i n g over t h e f i v e - y e a r span. N o w T r a u r i g is

ister t h e p r o j e c t s g e n e r a t e d by San Jose's b u i l d i n g b o o m . S h e

a b u s y w o m a n , o v e r s e e i n g over fifty p u b l i c art p r o j e c t s o f var-

f o r e s e e s t h e n e e d t o h i r e a d d i t i o n a l o f f i c e r s in t h e c o m i n g

ious size a n d s c o p e that are s c h e d u l e d f o r c o m p l e t i o n over t h e

years w h o w o u l d b e in c h a r g e o f c o o r d i n a t i n g t h e p u b l i c art

c o u r s e o f t h e n e x t t h r e e years a n d will e n c o m p a s s a total o f

c o m m i s s i o n s f o r San Jose's n e w a i r p o r t , slated for c o m p l e t i o n

$ 1 6 m i l l i o n in s p e n d i n g .

in 2 0 1 0 , in a d d i t i o n to p r o v i d i n g m o r e s u p p o r t f o r t h e city hall a n d civic c e n t e r projects, w h i c h will collectively total $ 1 7

She's c u r r e n t l y w o r k i n g w i t h M e l C h i n , w h o ' s

executing

m i l l i o n in s p e n d i n g .

t h i r t y - t h r e e individual sculptural inserts for the n e w main l i b r a r y l o c a t e d in d o w n t o w n San J o s e (to b e c o m p l e t e d in

T h e goal o f San Jose's extensive b u i l d i n g plan is to tie f a c t i o n s

2 0 0 3 ) . S h e has also b e e n o c c u p i e d w i t h c o n v i n c i n g a r c h i t e c t

o f t h e city t o g e t h e r as a w a y o f establishing a c o h e s i v e civic

R i c h a r d M e i e r , w h o is d e s i g n i n g San Jose's n e w civic c e n t e r

identity. O v e r t h e past d e c a d e , t h e R e d e v e l o p m e n t A g e n c y

a n d c i t y hall (to b e c o m p l e t e d in 2 0 0 4 ) , t o w o r k w i t h an

(RDA) has b e e n p r o m o t i n g San Jose's r e n e w a l by t r y i n g t o

i n t e r n a t i o n a l l y r e c o g n i z e d p u b l i c artist w h o w o u l d design a n d

revitalize its d o w n t o w n t o c o u n t e r a c t u r b a n sprawl. T h e RDA

install t h e m a i n w a t e r f e a t u r e o n t h e civic c e n t e r plaza. S h e

has already b r o u g h t an i n f l u x o f m o n e y i n t o d o w n t o w n t o

P u b l i c A r t R e v i e w . FALL.WTR.01

REPORT

Ann Chamberlain and Victor Zaballa, Mexican Heritage Cultural Gardens, San Jose, Calif. Photo courtesy Office of Cultural Affairs

r e n o v a t e m a n y o f its h i s t o r i c b u i l d i n g s a n d cultural c e n t e r s , u n d e r w r i t i n g t h e b u i l d i n g costs w i t h d e v e l o p e r initiatives. In 1 9 8 4 San J o s e o f f i c i a l s e s t a b l i s h e d a 1 - p e r c e n t - f o r - a r t o r d i n a n c e , b u t in 1988 this p u b l i c art f u n d i n g d o u b l e d to 2 p e r c e n t . T h e 2 0 0 0 - 2 0 0 5 P u b l i c A r t M a s t e r Plan also calls f o r f o s t e r i n g p a r t n e r s h i p s w i t h p r i v a t e d e v e l o p e r s , so t h a t 1 p e r c e n t o f costs for p r i v a t e b u i l d i n g p r o j e c t s s i t u a t e d d o w n t o w n m i g h t also b e f u n n e l e d i n t o p u b l i c a r t f u n d i n g . T h e

city

v i e w s p u b l i c art as a h u g e c o m p o n e n t o f its renaissance, since i n t r o d u c i n g l a n d m a r k s a n d attractive visual m a r k e r s i n t o t h e u r b a n l a n d s c a p e t e n d s t o i m p r o v e a city's a p p e a r a n c e a n d its livability, t h e r e b y b o l s t e r i n g t o u r i s m a n d p r o v i d i n g a u n i q u e visual

identity.

Moreover,

public

art

helps

get

citizens

i n v o l v e d in t h e d e c i s i o n - m a k i n g p r o c e s s t o e n h a n c e

the

a p p e a r a n c e o f t h e i r city n e i g h b o r h o o d s . " Y o u can g e t t h e c o m m u n i t y involved in all d i f f e r e n t levels," states T r a u r i g . " I f y o u d o n ' t g e t t h e m involved, it is hard t o w i n t h e i r s u p p o r t a n d have a successful p r o j e c t . " O n e e x a m p l e o f c o m m u n i t y i n v o l v e m e n t takes place in t h e artist selection process. For t h e b r a n c h library a n d c o m m u n i t y c e n t e r p r o j e c t s , t h e O f f i c e o f C u l t u r a l A f f a i r s is b r i n g i n g t o g e t h e r panels o f c o m m u n i t y m e m b e r s t o h e l p select p u b l i c artists t h e y ' d like to w o r k w i t h . A typical p a n e l m i g h t i n c l u d e that b r a n c h ' s c h i e f librarian, c o m m u n i t y m e m b e r s assigned by t h e local city c o u n c i l , a n e i g h b o r h o o d t e e n o r s c h o o l r e p r e sentative, and the project's architect. T h e s e panel m e m b e r s v i e w slides, d e b a t e t h e i r c h o i c e s , a n d pick an artist t h e y like o u t o f a p r e s c r e e n e d p o o l o f applicants. " I t y o u let t h e c o m m u n i t y m e m b e r s pick t h e artists," observes T r a u r i g , " t h e n t h e y feel as t h o u g h they can take o w n e r s h i p o f t h e p r o j e c t . " T r a u r i g explains that, s o m e t i m e s , l e t t i n g t h e c o m m u n i t y p i c k

P u b l i c artist M e l C h i n , w h o was c h o s e n f o r t h e m a i n l i b r a r y

t h e artist t h e y w a n t to w o r k w i t h leads t o i n d e c i s i v e n e s s . T h e

c o m m i s s i o n by a specially a p p o i n t e d panel o f c o m m u n i t y

first r o u n d o f t h e s e l e c t i o n p r o c e s s is fairly easy. H e r e , t h e

m e m b e r s , o t h e r p u b l i c artists, a n d t h e library's a r c h i t e c t , has

c o m m u n i t y m e m b e r s n a r r o w t h e i r c h o i c e to t w o o r t h r e e

served as a role m o d e l t o o t h e r San J o s e - c o m m i s s i o n e d artists

artists. T h e h a r d p a r t c o m e s in m a k i n g t h e final s e l e c t i o n , a

in his e m p h a s i s o n site specificity a n d his i n v o l v e m e n t w i t h

p o i n t w h e n t h e p u b l i c art a d m i n i s t r a t o r n e e d s to facilitate t h e

local residents. A c c o r d i n g t o T r a u r i g , C h i n c a m e i n t o his p r o j -

p r o c e s s . " W e u s u a l l y b r i n g t h e a r c h i t e c t t o this m e e t i n g , "

ect w i t h s o m e b r o a d i d e a s â&#x20AC;&#x201D; t h a t t h e m a i n l i b r a r y was a b o u t

explains T r a u r i g . " W h a t w e try t o d o is to give t h e m an idea of

exploration and discovery and that the sculptures should be

t h e site a n d w h a t types o f pieces m i g h t b e a p p r o p r i a t e f o r a

small-scale as o p p o s e d t o b i g s t a t e m e n t s â&#x20AC;&#x201D; b u t h e let his c o m -

given space."

m u n i t y research g u i d e t h e d i r e c t i o n o f m a n y c o m p o n e n t s o f the commission. H e worked with a multidisciplinary team of

O n c e t h e artist is selected, h e o r she is e n c o u r a g e d by T r a u r i g s t e a m t o s p e n d a g o o d a m o u n t o f t i m e in t h e c o m m u n i t y , c o n d u c t i n g f o c u s g r o u p s t o b e t t e r u n d e r s t a n d t h e place, t o get t o k n o w its p e o p l e , a n d to b e c o m e f a m i l i a r w i t h its history. "It's

scholars, s t u d e n t s , a n d c o m m u n i t y m e m b e r s t o r e s e a r c h t h e h i s t o r y o f t h e area a n d t h e n s p e n t several m o n t h s c o n d u c t i n g approximately forty c o m m u n i t y workshops to help formulate his p r o j e c t plans.

t h e responsibility o f o u r staff t o take t h e pulse o f t h e c o m m u nity, t o h e l p t h e artist f i g u r e o u t w h a t t h e y w a n t a n d w h a t

In o n e o f t h e s e w o r k s h o p s , C h i n l e a r n e d t h a t StreetLow

t h e y d o n ' t w a n t , " observes T r a u r i g . " T h e c h a l l e n g e , o f c o u r s e ,

zine, a p u b l i c a t i o n c a t e r i n g t o o w n e r s o f l o w - r i d e r cars, was

c o m e s in t r y i n g to m a k e e v e r y o n e happy."

p u b l i s h e d o u t o f San Jose. L o w r i d e r s are s o u p e d up, classic

Maga-

P u b l i c A r t R e v i e w . 1ALL.WTR.0I

REPORT

Announcement placed in StreetLow

Magazine.

Courtesy of Mel Chin

f o r artists that helps m a k e t h e i r j o b s as easy as possible. T h i s i n c l u d e s f o r e s e e i n g p o t e n t i a l p r o b l e m s in t h e f a b r i c a t i o n and installation o f each p i e c e a n d r e s o l v i n g t h e m at an early stage. In San Jose, artists are r e q u i r e d to p r e s e n t t h e i r design plans t o t h e P u b l i c A r t C o m m i t t e e , w h i c h is p a r t l y m a d e u p o f an a d v i s o r y g r o u p o f architects, u r b a n p l a n n e r s , a n d o t h e r p u b l i c artists, a n d p a r t l y o f arts c o m m i s s i o n e r s a p p o i n t e d by t h e mayor. F o r e a c h design p r o p o s a l , t h e g r o u p e x a m i n e s t h e s a m ple m a t e r i a l s t h e artist has p r e s e n t e d a n d gives practical f e e d back about construction

and f a b r i c a t i o n m e t h o d s , safety

c o n c e r n s , a n d p o t e n t i a l hazards. In d i s c u s s i n g h e r j o b r e s p o n s i b i l i t i e s , T r a u r i g d o w n p l a y s h e r authority. " W e d o t h e l e g w o r k , set t h e agendas, w r i t e m e m o s , a n d give o u r r e c o m m e n d a t i o n , " s h e says. "It's u p to t h e arts c o m m i s s i o n to approve each p r o j e c t . O n c e it has passed their approval, it goes to city c o u n c i l . T h e c o u n c i l , in t u r n , has t o o f f e r their official a c c e p t a n c e o n b e h a l f o f t h e city." In reality, h o w ever, t h e p u b l i c art a d m i n i s t r a t o r assumes m o s t of t h e responsibility in facilitating t h e a c c e p t a n c e o f each project. I f T r a u r i g has d o n e e v e r y t h i n g possible t o e n s u r e that t h e best artist has b e e n c h o s e n for t h e j o b and that each c o m m i s s i o n is a t e s t a m e n t to t h e artist's c r e a t i v e p o t e n t i a l , t h e p r o p o s a l will q u i c k l y b e a p p r o v e d by b o t h t h e arts c o m m i s s i o n and t h e city c o u n c i l . T r a u r i g a n d h e r staff w o r k w i t h p u b l i c artists o f all levels of e x p e r i e n c e , f r o m t h o s e s e a s o n e d to t h e process, like M e l C h i n , to t h o s e u n d e r t a k i n g p u b l i c art installations f o r t h e first t i m e . San Jose's O f f i c e o f C u l t u r a l Affairs even has a t r a i n i n g p r o -

c-knomz

g r a m f o r artists w h o are i n t e r e s t e d in w o r k i n g in t h e p u b l i c r e a l m . In o r d e r t o e x p a n d t h e p o o l o f p u b l i c artists called o n f o r c o m m i s s i o n s , T r a u r i g believes it is i m p e r a t i v e to get m o r e artists involved. T r a u r i g insists that h e r m a i n goal as a p u b l i c art a d m i n i s t r a t o r is t o see that t h e best artist has b e e n c o m m i s s i o n e d for t h e j o b a n d that h e o r she has c r e a t e d t h e best possible w o r k o f art, regardless o f e x p e r i e n c e . T h e j o b calls f o r a delicate b a l a n c e b e t w e e n e n c o u r a g i n g artists t o b e responsive to t h e c o m m u nities t h e y w o r k w i t h a n d a l l o w i n g t h e m to call u p o n t h e i r o w n creativity and expertise to i n t r o d u c e w o r k s of art of 36

u n i q u e vision. cars that s p o r t c u s t o m u p h o l s t e r y a n d have surfaces d e c o r a t e d in e l a b o r a t e a i r b r u s h art w i t h f r a m e s r i g g e d to r i d e l o w t o t h e

" W e try t o push t h e artists. All of these installations are p e r -

g r o u n d . C h i n decided to develop the concept of low rider

m a n e n t a d d i t i o n s to t h e landscape, a n d if t h e y ' r e n o t really

tables, c o n s t r u c t e d o u t o f m e t a l a n d sitting l o w t o t h e

floor.

g o o d , w e s h o u l d n ' t b e c o n s t r u c t i n g t h e m , " says T r a u r i g . " I f w e

H e t h e n a r r a n g e d to have a c o m p e t i t i o n a n n o u n c e d in Street-

t h i n k t h a t s o m e t h i n g m a y n o t b e u p t o par, w e d o n ' t say

Low Magazine

to solicit p a i n t e d designs f o r t h e f u r n i t u r e . T h e

' T h a t ' s a bad design,' b u t w e ask t h e m to t h i n k it t h r o u g h a lit-

w i n n i n g designs will b e p a i n t e d o n t h e f u r n i t u r e by a c u s t o m

tle f u r t h e r . It's a fine line. W e ' r e n o t c u r a t o r s ; w e are o n l y h e r e

a u t o b o d y s h o p in San Jose.

to facilitate w h a t t h e artists are d o i n g . "

T r a u r i g believes that o n e o f a p u b l i c art a d m i n i s t r a t o r ' s m a i n

Berin Golonu is a writer and editor who divides her time between San

responsibilities is t o p r o v i d e t h e s u p p o r t a n d e n c o u r a g e m e n t

Francisco and San Jose.

P u b l i c A r t R e v i e w . FALL.WTR.01

PROJECT

FEDERICA MATTA LE VOYAGE DE LA SIRENE By Joan S i m o n • • •

Federica Matta, Le Voyage de la Sirene, Saint-Nazaire, France, 2001. Photo courtesy Federica Matta

W h e n F e d e r i c a Matta's t w e n t y - s e v e n - f o o t - h i g h Lc Voyage de

S a i n t - N a z a i r e m a y o r J o e l B a t t e u x as " t h e c o l d e s t o f insanities."

la Sirene was u n v e i l e d in S a i n t - N a z a i r e ' s Plaza o f Latin A m e r -

It is n o w a site readdressed: o n e t o b e a s s u m e d , a c c e p t e d , a n d

ica o n J u n e 9, 2 0 0 1 , this e x u b e r a n t , g i l d e d a n d p o l y c h r o m e d ,

literally s u r m o u n t e d .

u p e n d e d m e r m a i d a p p e a r e d to have r i d d e n in o n a m a j e s t i c wave, sailing t h r o u g h t h e n e w l y o p e n e d p o r t a l s o f t h e c o n c r e t e b o r d e r starkly s e p a r a t i n g land a n d sea, a n d t u r n i n g t h e b r u t e , t h r e e - h u n d r e d - f o o t - l o n g m e g a l i t h that h a d b e e n a key N a z i s u b m a r i n e base o n

F r a n c e ' s w e s t e r n c o a s t f r o m an

o m n i p r e s e n t , isolating scar to a serviceable stageset, an e x p a n sive yet still s o b e r i n g , m e m o r y - b o u n d b a c k d r o p .

T o h a v e l e v e l e d t h e s u b m a r i n e base w o u l d h a v e c o s t t h r e e t i m e s as m u c h as t o k e e p it, b u t t h e final d e c i s i o n , l o n g in c o m i n g , was less a b o u t fiscal e c o n o m i e s t h a n t h e v a l u e s o f r e c o g n i t i o n a n d m e m o r y that are t h e g r o u n d w o r k f o r r e c o v e r y a n d r e n e w a l . A f t e r t e n years o f panels a n d c o m p e t i t i o n s , w i t h s o m e proposals calling f o r t h e site t o b e significantly built u p o n a n d o t h e r s calling f o r it t o b e erased, B a r c e l o n a a r c h i t e c t

So massive a n d s t r o n g l y b u i l t was this base t h a t it s u r v i v e d

M a n u e l d e Sola's r e c o m m e n d a t i o n s w e r e f o l l o w e d : p i e r c e t h e

v i r t u a l l y u n s c a t h e d w h e n 8 0 p e r c e n t o f S a i n t - N a z a i r e was

b u i l d i n g t o o p e n t h e vista t o t h e sea, t h e r e b y r e c o n n e c t i n g t h e

razed by Allied b o m b a r d m e n t s at t h e e n d o f W o r l d W a r I I . T h e

city t o its h i s t o r y a n d livelihoods as a f i s h i n g c e n t e r , strategic

p o r t , a n d b u i l d e r o f m a j e s t i c t r a d e ships a n d o c e a n - l i n e r s ;

t h a n a r e c l a m a t i o n o f this place, c h a r a c t e r i z e d by l o n g - t i m e

b r i d g e t h e n e w l y accessible s t r u c t u r e t o a n e w c e n t r a l plaza,

inauguration of Federica Matta's sculpture declared

e n a b l i n g t h e c i t i z e n r y t o take o w n e r s h i p o f t h e b u n k e r ' s vista f r o m its r o o f t o p r a t h e r t h a n b e d w a r f e d in its s h a d o w s ; a n d i n t e g r a t e t h e area w i t h t h e rest o f t h e city. O f t h e base's f o u r t e e n bays, d e s i g n e d t o h a r b o r a n d h i d e its G e r m a n fleet, a r c h i t e c t d e Sola o p e n e d t h e f o u r c e n t r a l o n e s , w h i c h n o w also serve as m o n u m e n t a l c o n c r e t e f r a m e s f o r t h e v i e w s b e y o n d . D e Sola's s o l u t i o n f o r b r i n g i n g p e o p l e t o t h e r e c l a i m e d b u t still desolate site was t o place a p a r k i n g lot b e t w e e n t h e base a n d t h e n e w plaza, w h i c h w o u l d b e c o m e first a d e f a c t o crossroads, a n d gradually an a n i m a t e d civic m e e t i n g place. T h e plaza itself, a m i n i m a l circle o f sand, is s o m e t h i n g o f a c o n c e p t u a l w o r k : it is d e s i g n e d so that after a r a i n s t o r m it dries f r o m t h e c e n t e r o u t w a r d in a r a d i a t i n g circle. D e Sola r e c o g n i z e d t h a t n e w u r b a n flaneurs,

h a r b o r i n g a s u b u r b a n i t e a t t a c h m e n t t o cars,

stroll at least f r o m a p a r k i n g s p o t t o a r e s t a u r a n t o r m o v i e , a n d in his s c h e m e , these walkers w o u l d inevitably cross t h e Plaza o f Latin A m e r i c a t o reach a C i n e p l e x , s h o p p i n g c e n t e r , a n d s u b s i d i z e d h o u s i n g . W i t h i n t h e r e n o v a t e d base t h e r e is n o w an o c e a n - l i n e r m u s e u m ; in t h e f u t u r e t h e r e will also be, a m o n g o t h e r attractions, a theater, a m u s i c hall, a n d a p l a y g r o u n d . D e Sola's s c h e m e is b e g i n n i n g t o b e played o u t . T h e area is a n i m a t e d daily by S a i n t - N a z a i r e ' s citizens a n d by tourists. It is also b e g i n n i n g t o play an i m p o r t a n t p a r t in t h e c o m m u n i t y ' s c e r e m o n i a l life. T h e c o s t u m e p a g e a n t o f s o m e f o u r

hundred

s c h o o l c h i l d r e n that was p a r t o f t h e o p e n i n g festivities f o r La Sirene will b e r e e n a c t e d yearly, a n d t h e area has also b e c o m e t h e p o i n t o f d e p a r t u r e f o r events s u c h as b i c y c l e races. Like t h e city o f S a i n t - N a z a i r e , w h i c h h a d b e e n built t w i c e — first by N a p o l e o n 111 in t h e 1850s as a c e n t e r f o r transatlantics h i p p i n g b e t w e e n t h e B r i t t a n y coast a n d C e n t r a l a n d S o u t h A m e r i c a , s e c o n d after W o r l d W a r I I — F e d e r i c a M a t t a ' s s c u l p t u r e Lc Voyage de la Sirene

h a d its g e n e s i s in t w o d i f f e r e n t

u r b a n r e n e w a l plans. It o r i g i n a l l y d e v e l o p e d f r o m a n o n r e a l ized commission

f o r a s e v e n t y - f o u r a c r e p a r k in

Saint-

P u b l i c A r t R e v i e w . FALL WTR.O!

PROJECT

Transport of Le Voyage de la Sirene, Saint-Nazaire, France, 2001. Photo courtesy Federica Matta

'•now n n a

N a z a i r e ' s w e s t e r n d i s t r i c t o f r e s i d e n t i a l a n d civic b u i l d i n g s

p a i n t a p p l i e d t o t h e s u r f a c e gives it its m u l t i c o l o r e d

n e a r t h e L o i r e estuary.

e x c e p t f o r t h e sections o f gold leaf, w h i c h w e r e applied by

skin,

t h e s a m e artisans w h o recently r e g i l d e d t h e d o m e o f Paris's Matta's p o i n t o f d e p a r t u r e f o r t h e earlier p r o j e c t , w h i c h b e g a n

Les Invalides.

in 1991 a n d was r e s e a r c h e d , p l a n n e d , a n d d e f e n d e d in p u b l i c

f o r u m s f o r a l m o s t ten years, was t h e idea that t h e p e o p l e o f

Like m a n y o f Matta's images, La Sirene is b o l d , g r a p h i c , p a r t

S a i n t - N a z a i r e w h o built t h e g r e a t n i n e t e e n t h - c e n t u r y

trade

a n i m a l , p a r t h u m a n , a spirited figure, fierce yet playfully p r o -

ships a n d t w e n t i e t h - c e n t u r y o c e a n - l i n e r s (such as t h e F r a n c e

tective. It is n o t u n l i k e t h o s e i m a g e s seen in S o u t h A m e r i c a n

a n d t h e N o r m a n d i e ) w o u l d n e v e r h a v e h a d t h e c h a n c e to

h a n d i c r a f t s o r t h e a n i m a l g u a r d i a n f i g u r e s f o r t e m p l e s in

travel o n t h e m , n o r c o u l d t h e y e x p e r i e n c e t h e ships' l u x u r y in

N e p a l , J a p a n , a n d India. Matta's figures are m a d e i n t o s c u l p -

a n y way. S h e i m a g i n e d this p a r k , f o r w h i c h s h e d e s i g n e d

tures a n d sculptural c o m p l e x e s o f m a n y sizes, f r o m w e a r a b l e

t w e n t y d i f f e r e n t g a r d e n s , as t h e " d e s t i n a t i o n w h e r e c i t i z e n s

j e w e l s t o w h o l e h o u s e s . H e r Plaza Brazil (1993) in Santiago,

w o u l d h a v e t h e o p p o r t u n i t y t o w a l k in t h e i r d r e a m s . " S h e

Chile, comprises t w e n t y - t w o sculptures, integrating a play-

called it Lc Jardin des Voyages.

g r o u n d , seating area, a n d p u b l i c plaza.

E c h o i n g c e r t a i n g r a n d e i g h t e e n t h - c e n t u r y gardens, it was t o

Matta's w o r k s ' e n g a g e m e n t w i t h t h e p u b l i c is a c o m p l e x act.

have a lake a n d a l a b y r i n t h . T h e latter was t o b e a k i l o m e t e r -

S h e o f t e n specifically addresses c h i l d r e n , f o r she k n o w s well

l o n g p u z z l e w h e r e t o d d l e r s c o u l d l e a r n t o w a l k a s ' w e l l as,

t h a t f o l l o w i n g c h i l d r e n are t h e i r p a r e n t s a n d g u a r d i a n s a n d

a c c o r d i n g t o M a t t a , p u z z l e o u t a d i f f e r e n t sort o f reality. H e r

that in w a t c h i n g over y o u n g o n e s in p u b l i c p l a c e s — i n parks,

plan also called f o r t w o m e r m a i d s . O n e was to b e a s c u l p t u r e o f

gardens, and p l a y g r o u n d s — t h e m o s t literal grassroots c o m m u -

a g i a n t sirene a r r i v i n g in S a i n t - N a z a i r e ; it was to b e sited in f r o n t

n i t i e s are f o r m e d . S a i n t - N a z a i r e ' s e m p h a s i s o n t h e " n e w

o f t h e g a r d e n — a c t u a l l y in t h e estuary. H e r tail was t o b e " l e v e l "

d r e a m s " o f its c h i l d r e n t o b e f o s t e r e d b y t h e

w i t h t h e w a t e r a n d w o u l d c o m e in a n d o u t o f v i e w as t h e waves

w a r t i m e site, s u p p l a n t i n g t h e n i g h t m a r e s o f old, is also c r u c i a l

reclaimed

m o v e d i n t o shore. S h e was to b e a c o u n t e r p a r t t o t h e s t o n e c o l -

to La Sirene's pivotal p o s i t i o n as a p u b l i c w o r k . A m o n g t h e

u m n that bears a W o r l d W a r I m e m o r i a l statue by G e r t r u d e V.

m a n y j o u r n e y s t h e w o r k evokes are S a i n t - N a z a i r e ' s s h i p p i n g

W h i t n e y o f an A m e r i c a n soldier w h o stands u p o n t h e b a c k o f

r o u t e s t o L a t i n A m e r i c a , f r o m w h i c h t h e plaza d e r i v e s its

an eagle that is also in t h e sea b u t a bit f u r t h e r d o w n t h e coast.

n a m e , b u t p e r h a p s even m o r e so, t h e l o n g a n d t u r b u l e n t p s y -

T h e s e c o n d o f M a t t a ' s m e r m a i d s f o r Lc Jardin des Voyages was t o

c h o l o g i c a l j o u r n e y , a t u r n away f r o m t h e t r a u m a o f G e r m a n

b e sited in t h e park in t h e f o r m o f a r e s t a u r a n t .

o c c u p a t i o n , France's V i c h y g o v e r n m e n t ' s c o l l a b o r a t i o n , S a i n t N a z a i r e 's d e s t r u c t i o n by b o m b i n g , a n d t h e a f t e r m a t h o f denial

Le Jardin

des Voyages, h o w e v e r , was n e v e r built. P r i o r i t i e s f o r

a n d paralysis in t h e face o f r e c o n s t r u c t i o n .

d e v e l o p m e n t s h i f t e d to t h e east, to t h e m a r g i n a l i z e d z o n e o f t h e p o r t . T h e first o f F e d e r i c a M a t t a ' s sirene s c u l p t u r e s t o o k n e w f o r m as a c o m m i s s i o n f o r t h e p o r t p r o j e c t as t h e s y m b o l , a m o n g o t h e r things, of the long, difficult, and changeable j o u r n e y to t h e n e w city c e n t e r n a m e d V i l l e - P o r t .

T h e s c u l p t u r e , a l t h o u g h t w e n t y - s e v e n - f e e t h i g h , is m o d e s t in scale relative t o t h e m o n u m e n t a l s t r u c t u r e b e h i n d h e r — M a t t a deliberately sized h e r sirene t o b e l o w e r t h a n t h e f o r t y - s i x - f o o t r o o f l i n e o f t h e s u b m a r i n e base. S h e n e v e r t h e l e s s h o l d s h e r place w i t h a s h a r p i n s o u c i a n c e , literally t u r n i n g h e r b a c k o n

Lc Voyage de la Sirene is m a d e o f fiberglass a n d resin a n d was

w h a t h a d b e e n k n o w n as t h e " m o n s t e r . " La Sirene possesses

f a b r i c a t e d at t h e Ateliers H a l i g o n , o u t s i d e o f Paris. Acrylic-

a n o t h e r k i n d o f " b r u t " p r e s e n c e , an " a r t b r u t " that uses i n n o -

P u b l i c Art R e v i e w . FALL WTR.O!

PROJECT

Dedication of Le Voyage de la Sirene, Saint-Nazaire, France, 2001. Photo courtesy Federica Matta

c e n c e as f o r c e , c h a r m as catalyst, a n d c o l o r as an e x p l o s i v e

able, b u t she has also a d d e d a n e w c h a p t e r t o S a i n t - N a z a i r e ' s

a g e n t . Matta's sirene, a l t h o u g h in overall f o r m a n d n a r r a t i v e

m y t h o l o g y . La Sirene's s y m b o l i s m is a m p l i f i e d in t h e explicitly

f a m i l i a r f r o m classical m y t h t o D i s n e y c a r t o o n feature, is based

v e r n a c u l a r f o r m a t o f t h e p u b l i s h e d b o o k l e t , w h i c h takes t h e

s p e c i f i c a l l y o n a B r a z i l i a n sea g o d d e s s w h o m

has

f o r m o f a c o l o r i n g b o o k , solid black o u t l i n e s a n d all, bits o f

r e i m a g i n e d o n a voyage to S a i n t - N a z a i r e , a n d w h o , as M a t t a

w h i c h have b e g u n t o b e c o l o r e d by M a t t a . In F e d e r i c a M a t t a ' s

Matta

says, "speaks t o us o f ancestral m e m o r y — o f m e m o r y b e f o r e

v e r s i o n o f t h e I e m a n j a m y t h , t h e sea g o d d e s s rides t h e waves

m e m o r y . S h e c a r r i e s t h e m e m o r y o f a n c i e n t t i m e s as s h e

f r o m Havana, Veracruz, and G u y a n a — t h e r e b y following the

retells h e r d r e a m s a n d h e r discoveries f r o m h e r voyages."' In

same n i n e t e e n t h - c e n t u r y trade routes to and f r o m Saint-

an i n t e r v i e w w i t h P i e r r e B i g o t , in t h e n e w s p a p e r France,

Matta

Ouest-

Nazaire

the

Antilles,

Panama,

Mexico,

and

French

explained, " A t the b e g i n n i n g of time, she

G u y a n a — a n d b r i n g i n g a n e w t o S a i n t - N a z a i r e t h e gifts, M a t t a

appeared, disappeared, and c a m e back. She a c c o m p a n i e d cap-

w r i t e s , t h a t sirenes " a l w a y s b r i n g f o r t h f r o m t h e sea: v i s i o n ,

tive A f r i c a n s enslaved and b e i n g b r o u g h t to t h e n e w w o r l d ,

m e m o r y , play, a n d m u s i c . " A t t h e e n d o f M a t t a ' s m y t h f o r

a n d she stayed w i t h t h e m as t h e y traversed t h e o c e a n . S h e is

S a i n t - N a z a i r e , I e m a n j a , arrives at t h e plaza, r i s i n g u p b o l d l y

I e m a n j a , t h e g o d d e s s o f love o f R i o a n d C u b a , w h o lies at t h e

b e f o r e t h e n e w l y c l a i m e d a n d r e i m a g i n e d s u b m a r i n e base t o

b o t t o m o f t h e sea a n d w h e n o n e loves her, she o p e n s h e r h e a r t

i n a u g u r a t e it. S h e n e i t h e r f o r g e t s t h e realities o f t h e past n o r

t o mystery."-

t h e possibilities o f n e w d r e a m s h a r b o r e d b y t h e city's i n h a b i tants, w h i c h are e x p r e s s e d by M a t t a in t h e m y t h ' s c o n c l u d i n g

W h e n asked by Bigot a b o u t t h e relation o f this sirene t o t h e d r e a m s a n d fantasies o f c h i l d h o o d , and as a r e p r e s e n t a t i o n o f t h e e n d e a v o r to m a k e art, M a t t a n o t e d that she g r e w u p in a

rebus: " T o g e t h e r t h e y will l a u g h , play w i t h w o r d s , a n d i n v e n t a n e w way of speaking to each other, w h e r e o n e opens one's h e a r t t h e w a y o n e o p e n s o n e ' s eyes."

m i l i e u o f artists a n d a r t w o r k s , a n d as a v e r y y o u n g c h i l d she " b a t h e d " in t h e p r e s e n c e

of African masks, s o m e

from

A writer, editor, curator, and arts administrator specializing in contemporary

D a h o m e y , o t h e r s f r o m N e w G u i n e a a n d M a l i . As s h e g r e w up,

art, Joan Simon is the author of the forthcoming Ann Hamilton

she s p o k e to t h e m , c o n s i d e r e d t h e m f r i e n d s , a n d f r o m t h e m ,

tributor to Landmarks: Sculpture Commissions for the Stuart

and a con-

Collection.

she says, she " l e a r n e d to see t h e invisible." It is this m a g i c , as well as t h e h i s t o r y o f S a i n t - N a z a i r e , that M a t t a aims to convey, in b o t h h e r s c u l p t u r e a n d t h e c o m p l e m e n t a r y m y t h she w r o t e

Notes:

t o a c c o m p a n y it, w h i c h was p u b l i s h e d by t h e city o f S a i n t -

1. Unless o t h e r w i s e n o t e d , q u o t e s from F e d e r i c a M a t t a are

N a z a i r e in an e d i t i o n o f ten t h o u s a n d a n d d i s t r i b u t e d free.

conversations with the author, J u n e and July 2001.

M a t t a has n o t o n l y a d d e d a p r e s e n c e t o t h e Plaza o f Latin

2. P i e r r e B i g o t , " R e n c o n t r e avec F e d e r i c a M a t t a , c r e a t r i c e d e La S i r e n e : Elle

A m e r i c a ' s circle o f sand w h o s e i c o n o g r a p h y is p o p u l a r l y r e a d -

o u v r e le C o e u r au mystere," Ouest-Francc, June

from

8, 2 0 0 1 .

CONFERENCE

NINETEENTH INTERNATIONAL SCULPTURE CONFERENCE

(left) S T E L A R C , Structure/Substance, Photo by Polixeni Papapetrou

by J a c k B e c k e r •

•

Ballaarat Fine

A r t Gallery, Australia, 1990. ( r i g h t ) Alexander Brodsky, Palazzo Nudo, Seventh

•

and Penn Sculpture Park, Pittsburgh, Penn., 1999. Photo by F O R E C A S T Public Artworks

Pittsburgh, Pennsylvania,June 6-10,2001

F r o m t h e o r g a n i c t o t h e digital, h i g h - t e c h to l o w - t e c h , p r e -

S c u l p t u r e s a r e n ' t j u s t f o r pedestals a n d plazas a n y m o r e , as e v i d e n c e d at this s u m m e r ' s I n t e r n a t i o n a l S c u l p t u r e C e n t e r (ISC) c o n f e r e n c e . M y p r e c o n c e i v e d n o t i o n o f ISC g a t h e r i n g s as s h o p talk a m o n g f o u n d r y folks was s h a t t e r e d , happily, t h a n k s in p a r t t o c o l l a b o r a t o r s A r t + P e r f o r m a n c e + T e c h n o l o g y (APT) P i t t s b u r g h . It was m o r e like F r a n k e n s t e i n m e e t s H a l (of 2001: Space Odyssey).

In this case it's t h e s c u l p t o r w h o creates n e w

s e n t a t i o n s r a n g e d broadly. H i g h l i g h t s f o r m e i n c l u d e d T i m D u f f i e l d ' s o v e r v i e w o f " S c u l p t u r e a n d Water," i n c l u d i n g Pittsburgh's o w n C i n d y Snodgrass, a veteran of ephemeral h u g e scale c o m m u n i t y - b a s e d i n s t a l l a t i o n s . T h e k i n e t i c s c u l p t u r e p a n e l was o u t s t a n d i n g , especially T h e o J a n s e n , o f H o l l a n d . His w a l k i n g skeletal s c u l p t u r e s m a d e of plastic y e l l o w

tubing

c r u i s e b e a c h e s in t h e N e t h e r l a n d s a n i m a t e d solely by t h e w i n d . A n o t h e r p a n e l p r e s e n t e d a live broadcast o f an i r o n p o u r

f o r m s o f lite u s i n g c u t t i n g - e d g e t e c h n o l o g i e s .

in S c o t l a n d , t a k i n g a d v a n t a g e o f n e w t e c h n o l o g y and a l l o w i n g T h e g a t h e r i n g — f e a t u r i n g over o n e h u n d r e d p r e s e n t e r s — w a s

folks o n b o t h sides o f t h e Atlantic to converse. A timely panel

informative, stimulating, and f u n . T h e conference took advan-

o n " A r t , E c o l o g y a n d P l a n n i n g , " m o d e r a t e d b y artist T i m

t a g e o f P i t t s b u r g h ' s p o s t i n d u s t r i a l sites a n d g r e a t

cultural

Collins, featured Bob Bingham, Jackie Brookner, Angelo

resources. T h e r e w e r e b o a t t o u r s , m u s e u m parties, a n d access

C i o t t i , R e i k o G o t o , Stacy Levy, a n d M a l c o l m Miles. G u g g e n -

t o t h e n e a r b y T h r e e R i v e r s Arts Festival, f e a t u r i n g w o r k s by

h e i m m e d i a c u r a t o r J o h n H a n h a r d t gave a f a s c i n a t i n g survey

k e y n o t e speaker Magdalena Abakanowicz. H e r magnificent,

o f Paik's w o r k , b u t it was m a r r e d by his c o m p u l s i v e use o f a

r o u g h - h e w n , o r g a n i c f o r m s w e r e h e l d u p in c o n t r a s t t o t h e

laser p o i n t e r s c r i b b l i n g over every i m a g e , i n c l u d i n g — i r o n i -

playful, t e c h n o - t h e m e d w o r k s o f N a m J u n e Paik, r e c i p i e n t o f

cally—Paik's o w n subtle laser installations.

this year's ISC L i f e t i m e A c h i e v e m e n t Award. A r o u n d t a b l e o n p u b l i c art issues b r e w i n g in P i t t s b u r g h was strategically d e s i g n e d to b r i n g r e s o u r c e p e o p l e a t t e n d i n g t h e c o n f e r e n c e t o t h e table w i t h t h o s e s t r u g g l i n g to i m p r o v e t h e c l i m a t e f o r local artists. O n e o f t h e i r goals is t o establish an o r d i n a n c e r e q u i r i n g t h e U r b a n D e v e l o p m e n t A u t h o r i t y to set aside a p e r c e n t f o r art. H i g h l i g h t s o f this e n g a g i n g c o n v e r s a t i o n w e r e recently p u b l i s h e d in Sculpture By

far

the

most

bionic

magazine.

presentation

was

offered

S T E L A R C , t h e A u s t r a l i a n p e r f o r m a n c e artist, w h o , f o r his hour-long

performance, strapped

custom-designed

r e m o t e - c o n t r o l l e d b a c k p a c k ( f o r c i n g his a r m s to s p u t t e r a n d c o n t o r t ) as well as a s h o c k - p r o d u c i n g leg strap m a k i n g h i m j e r k his k n e e repeatedly. As h e d e s c r i b e d his plans earlier i n t h e day, h e o n l y had " o n e leg to stand o n . " You c o u l d say t h e a u d i ence had a " k n e e - j e r k " reaction. Jack Becker is the artistic director of F O R E C A S T Public Artworks.

P u b l i c A r t R e v i e w . FALL.WTR .01

CONFERENCE

COMPEL + PROVOKE PUBLIC ART 2 0 0 1 Louise Bourgeois, Maman

By M a r y Altman • • •

and

Spiders, N e w York City, N.Y., 2001. Photo by Bart Barlow/Rockefeller Center/Tishman Speyer

New York City, July 26-27,2001 M y first e x p o s u r e t o t h e P u b l i c A r t N e t w o r k (PAN) was in 1997 at t h e A m e r i c a n s for t h e Arts c o n f e r e n c e i n M i n n e a p o lis. At t h e t i m e I was c o o r d i n a t i n g t h e rural arts p r e c o n f e r e n c e b u t c a u g h t glimpses o f t h e p u b l i c art sessions f r o m t h e h o t e l c o r r i d o r s . I was e n v i o u s o f t h e session r o o m s flashing i n t e r e s t i n g a n d c h a l l e n g i n g visual w o r k o n t h e walls.

A r t in P u b l i c Places p r o g r a m is fifteen years old, b u t small. (At t h e c o n f e r e n c e I d i s c o v e r e d Boise, I d a h o ' s b u d g e t will s o o n t r i p l e ours.) W e are c u r r e n t l y r e d e f i n i n g o u r p u b l i c art goals, policies, selection processes, p r o c e d u r e s , a n d f u n d i n g m e c h a n i s m s . G a i n i n g access t o m a t e r i a l s r e p r e s e n t i n g y e a r s

r e s e a r c h a n d d e v e l o p m e n t , s u c h as t h e S a n F r a n c i s c o A r t s C o m m i s s i o n ' s G u i d e l i n e s f o r P r o g r a m m a t i c Access t o Visual Arts P r o g r a m s , was e x t r e m e l y helpful. I l o o k f o r w a r d t o

Last J a n u a r y I left t h e field o f rural arts a n d b e c a m e t h e p u b l i c

b r i n g i n g t h e m before o u r Public Art W o r k i n g C o m m i t t e e to

arts a d m i n i s t r a t o r f o r t h e M i n n e a p o l i s O f f i c e o f C u l t u r a l

review and consider.

Affairs. M y b a c k g r o u n d is in c o m m u n i t y o r g a n i z i n g a n d arts e d u c a t i o n , b u t until n o w m y p r i m a r y e x p e r i e n c e w i t h p u b l i c art has b e e n as a m e m b e r o f t h e p u b l i c o r t h r o u g h f r i e n d s w o r k i n g as p u b l i c artists. I c a m e to this year's PAN c o n f e r e n c e h u n g r y a n d w i t h a s t e e p l e a r n i n g c u r v e . I left w i t h ideas 1 c o u l d apply directly to m y w o r k .

W h a t i m p r e s s e d m e m o s t a b o u t t h e c o n f e r e n c e was t h e o n g o i n g c u r r e n t o f discussion a b o u t artistic values. N e a r l y e v e r y s e s s i o n — e v e r y m o m e n t really, f r o m t h e breakfasts t o t h e late e v e n i n g s u b w a y r i d e s after e v e n t s — i n c l u d e d an array o f s t r o n g a n d p a s s i o n a t e o p i n i o n s a b o u t t h e s e values a n d t h e r o l e o f p u b l i c art in o u r c o m m u n i t i e s .

" D e s i g n T e a m s and I n t e g r a t i o n " shared t e c h n i q u e s f o r b u i l d ing relationships b e t w e e n artists, architects, a n d e n g i n e e r s . In t h e " Y e a r in R e v i e w " J a c k B e c k e r a n d H a r r i e t S e n i e p r e sented a range of stimulating work and helped m e identify artists w o r k i n g in c o n t e x t s similar t o u p c o m i n g p r o j e c t s h e r e in M i n n e a p o l i s . T h e a f t e r n o o n t o u r s a n d e v e n i n g events w e r e a g r e a t w a y to see N e w York a n d t o e x p e r i e n c e a r a n g e o f a p p r o a c h e s to p u b l i c art, such as c o m m u n i t y - b a s e d efforts in Hell's K i t c h e n , m e m o r i a l s in B a t t e r y Park, n e w m e d i a w o r k s at C r e a t i v e T i m e , a n d t h e t e m p o r a r y i n s t a l l a t i o n o f L o u i s e B o u r g e o i s ' s spiders at R o c k e f e l l e r C e n t e r .

W o r k i n g f o r a m u n i c i p a l i t y , I a m daily r e m i n d e d o f t h e values that the city b r i n g s to the t a b l e — v a l u e s of revitalization, access, c o m m u n i t y , visibility, a n d e c o n o m i c d e v e l o p m e n t . As a citizen I also care a b o u t t h e s e values. B u t in N e w Y o r k , c o l leagues h e l p e d r e m i n d m e t h a t as o u r city m o v e s f o r w a r d in s h a p i n g o u r p u b l i c art p r o g r a m , w e n e e d t o a f f i r m a c o m m i t m e n t t o aesthetic values as well. T h e PAN c o n f e r e n c e i n s p i r e d m e t o c o n s i d e r h o w o u r p r o g r a m ' s p u b l i c art a g e n d a can c o m pel a n d p r o v o k e t h e city t o raise its standards f o r c r e a t i n g an artistically c h a l l e n g i n g a n d vital c o m m u n i t y .

S i n c e r e t u r n i n g , I ' v e e v e n i m p l e m e n t e d ideas f r o m o t h e r

Mary Altman is the public arts administrator for the city of Minneapolis's

cities' g u i d e l i n e s available at t h e r e s o u r c e table. M i n n e a p o l i s ' s

Office of Cultural Affairs.

REVIEW

MURALS: THE GREAT W A L L S OF J O L I E T R e v i e w e d by R e b e c c a • • •

Ryan

Jeff Huebner Joliet, III.: Friends of Community Public Art, 2001 132 pages, $21.95

b u t also t h e d e v e l o p m e n t o f t h e murals, w h i c h read f r o m t i m e to t i m e like a l a u n d r y list in w h i c h e v e r y o n e and e v e r y t h i n g must be included.

In 1 9 9 1 , c o m m u n i t y artists K a t h l e e n Farrell a n d K a t h l e e n S c a r b o r o s t a r t e d a n a m b i t i o u s p a r t n e r s h i p w i t h t h e city o f J o l i e t . Illinois, in w h i c h t h e city paid t h e m to c r e a t e m u r a l s d o c u m e n t i n g Joliet's history. A l t h o u g h Farrell a n d S c a r b o r o h a d b e e n w o r k i n g since t h e m i d - 1 9 7 0 s t o d e v e l o p c o m m u nity arts in Joliet, o n c e t h e y b e g a n t h e i r m u r a l p r o j e c t , t h e y d i s c o v e r e d h o w f e w r e s o u r c e s actually existed in J o l i e t to n u r -

W h i l e t h e m u r a l s ' s u b j e c t m a t t e r is v a r i e d a n d w i d e - r a n g i n g , t h e b o o k is n o t . T h e r e are n o p h o t o g r a p h s of Joliet ( s o m e c o n t e x t f o r w h e r e t h e m u r a l s are placed w o u l d b e a p p r e c i ated), n o e x p l a n a t i o n o f w h y murals as an art f o r m w e r e c h o sen, a n d n o real e x p l a n a t i o n o f s o m e o f t h e o t h e r w o r k s o f p u b l i c art c o m p l e t e d by FCPA. Also l a c k i n g is a sense o f d i r e c t i o n : w h a t will FCPA (and Joliet) d o n o w ?

t u r e local artists. I n t h e p a r t n e r s h i p ' s early years t h e y o f t e n e n l i s t e d artists f r o m t h e C h i c a g o P u b l i c A r t G r o u p t o h e l p

T w o s p e c i f i c m u r a l s s t a n d o u t — a s d e p i c t i o n s o f t h e basic

complete murals, but they believed a training program for

t h e m e s in Joliet's h i s t o r y a n d as stellar e x a m p l e s o f w h y t h e

Joliet artists was n e e d e d so t h e p r o j e c t c o u l d b e m o r e c o m m u -

t r a i n i n g p r o g r a m w o r k s . Papering the World:Joliet's

n i t y c e n t e r e d . In 1 9 9 7 , F r i e n d s o f C o m m u n i t y P u b l i c A r t

Industry

Wallpaper

( 1 9 9 6 , lead artists Farrell a n d S c a r b o r o ) f o c u s e s o n

(FCPA) i n c o r p o r a t e d f o r m a l l y as a n o n p r o f i t , i n d e p e n d e n t

i m a g e s o f o r d i n a r y w o r k e r s to create a s t r i k i n g p i c t u r e o f an

f r o m t h e city o f J o l i e t . W i t h f o r t y m e m b e r s , eleven lead artists,

i n d u s t r y and t h e w o r k e r s w i t h i n it. T h i s m u r a l is indicative o f

a n d a n a d v i s o r y b o a r d , FCPA's stated a i m t o d a y is to r e m i n d

t h e k i n d t h e city o f J o l i e t a p p r o v e d — j u s t i n t r i c a t e e n o u g h n o t

J o l i e t o f its h i s t o r y , d e v e l o p c o m m u n i t y art, a n d train n e w

t o c o n f u s e t h e g e n e r a l p u b l i c yet n o t c o n s p i c u o u s l y o r c o n -

g e n e r a t i o n s o f muralists.

troversially l a b o r - t h e m e d . La Herencia Mexicana:

Mexican

Her-

itage ( 1 9 9 9 , lead artist Jesus R o d r i g u e z ) is an e x a m p l e o f a T h o u s a n d s o f gallons o f paint, h u n d r e d s o f p a i n t b r u s h e s , m a n y

m u r a l c r e a t e d by o n e o f t h e a p p r e n t i c e s t r a i n e d t h r o u g h t h e

v o l u n t e e r s , a n d n i n e years are e n c o m p a s s e d in J e f f H u e b n e r ' s

p r o g r a m . T h e stylistic i n f l u e n c e o f t h e J o l i e t s c h o o l can b e

Murals:The

seen in his use o f color, b u t R o d r i g u e z b r i n g s a k n o w l e d g e o f

Great Walls of Joliet.This

b o o k spans t h e p e r i o d f r o m

1991 t o 1999, d u r i n g w h i c h t i m e t h i r t y - s o m e murals r e p r e -

t h e s u b j e c t a n d a p e r s o n a l vision that allows La Herencia

s e n t i n g Joliet h i s t o r y f r o m 1832 t o t h e present w e r e p r o d u c e d .

icana t o stand o u t a m o n g t h e o t h e r murals c r e a t e d to h o n o r

The

Joliet's v a r i o u s i m m i g r a n t g r o u p s .

i m a g e o f a t r a c k o r trail persists t h r o u g h o u t

these

Mex-

m u r a l s — t h e S a u k u s e d a t r a d e r o u t e that w o u l d e v e n t u a l l y bisect Joliet's m a i n business district, a n d t h e n t h e various i n d u s -

B y c r e a t i n g t h e m a n y m u r a l s and o t h e r w o r k s of p u b l i c art,

tries that left t h e i r m a r k o n J o l i e t ( l i m e s t o n e q u a r r i e s , steel,

FCPA has s h o w n J o l i e t a n e w v i s i o n o f its history, o n e t h a t

wallpaper, g r e e t i n g cards) c a m e t o t o w n a n d left again via t h e

i n c l u d e s t h e o r d i n a r y citizen in l a u d a b l e ways. O t h e r cities can

Illinois a n d M i c h i g a n C a n a l , t h e D e s Plaines R i v e r , a n d t h e

claim great d e f i n i n g m o m e n t s and particularly b e a u t i f u l scenic

railroad. W o r k e r s in t h e various i n d u s t r i e s that s h a p e d Joliet are

f e a t u r e s , b u t J o l i e t has b e e n m a r k e d by i n d u s t r i e s , m o s t o f

also f r e q u e n t subjects, a n d s o m e r a t h e r explosive labor history

w h i c h are n o w d e f u n c t . FCPA has revealed historical m o m e n t s

is h i n t e d at in m a n y o f t h e murals. W e l l - r e s e a r c h e d a n d detailed

n o t usually c o n s i d e r e d , t h o s e of j o b s , i m m i g r a n t s , a n d o r d i n a r y

d e s c r i p t i o n s o f t h e s e subjects a c c o m p a n y large c o l o r p h o t o -

w o r k e r s , a n d r e c r e a t e d t h e m to r e m i n d p e o p l e that these s t o -

g r a p h s o f each m u r a l . Lively artist b i o g r a p h i e s a n d p e r s o n a l

ries m a k e Joliet a place w i t h a r i c h past. Murals:Thc

s t a t e m e n t s m a k e f o r i n t e r e s t i n g reading. Farrell a n d S c a r b o r o

of Joliet p r o v i d e s a c o m p r e h e n s i v e base f r o m w h i c h to l o o k at

have e a c h c o n t r i b u t e d enthusiastic i n t r o d u c t i o n s .

t h e m u r a l s a n d also to i m a g i n e w h a t m i g h t c o m e n e x t , f o r

Great Walls

Joliet a n d f o r F r i e n d s o f C o m m u n i t y P u b l i c Art. Great Walls starts w i t h t h e m u r a l s c o m p l e t e d in 1 9 9 9 a n d f i n ishes w i t h t h o s e c o m p l e t e d in 1 9 9 1 , ostensibly t o s h o w t h e

Rebecca Ryan is the program assistant at F O R E C A S T Public Artworks.

style e v o l u t i o n o f t h e J o l i e t s c h o o l , t h e local muralists t r a i n e d m o s t l y by Farrell a n d S c a r b o r o . Farrell a n d Scarboro's beliefs a b o u t p a i n t i n g as well as c o m m u n i t y art have o b v i o u s l y i n f l u e n c e d this d i s t i n g u i s h a b l e style, m a r k e d by w i d e s w a t h s o f a l t e r n a t i n g c o l o r a n d a t t e n t i o n to detail a n d realism. P r e s e n t i n g t h e e v o l v i n g J o l i e t s c h o o l b e g i n n i n g w i t h t h e earliest

Coming April, 2002 Public Art Review,

Issue # 2 6

Return Ticket

c o m p l e t e d m u r a l s m a y have b e t t e r served this p u r p o s e , h o w ever. C h r o n o l o g i c a l o r d e r w o u l d have h e l p e d r e a d e r s m o r e easily trace n o t o n l y t h e artists' a n d a p p r e n t i c e s ' d e v e l o p m e n t ,

P u b l i c A r t R e v i e w . FALLWTR.OI

Another look at public art and transit SUBSCRIBE

TODAY

UPDATE

FORECAST UPDATE

Michael Richards, Are You Down?,

c o m p i l e d by F O R E C A S T staff •

•

Franconia Sculpture Park,

•

Shafer, Minn., 2000. Photo courtesy Franconia Sculpture Park

staff

w i t h o u t the p e r m a n e n c e of a memorial. T h e elegant proposal

e x p r e s s t h e i r d e e p sadness a n d c o n d o l e n c e s t o t h o s e w h o lost

c o n s i s t s o f p o w e r f u l b e a m s o f l i g h t , r i s i n g u p in t h e f o r m of

l o v e d o n e s in t h e a t t a c k s o n t h e P e n t a g o n a n d W o r l d T r a d e

t h e t w o t o w e r s , t o s h i n e in t h e e m p t y n i g h t s k y f o r a s h o r t

C e n t e r o n S e p t e m b e r 11, 2 0 0 1 . W e , like t h e rest o f t h e n a t i o n ,

p e r i o d o f t i m e , p e r h a p s a m o n t h . T h i s p r o p o s a l will in n o w a y

w a t c h e d o u r c o m p u t e r s a n d TVs a n d l i s t e n e d t o o u r r a d i o s ,

interfere with rescue, recovery, and debris removal efforts.

T h e F O R E C A S T P u b l i c A r t w o r k s a n d Public Art Review

s t u n n e d a n d d i s m a y e d . T h e d e a t h o f artist M i c h a e l

Richards,

A r c h i t e c t s J o h n B e n n e t t a n d G u s t a v o B o n e v a r d i a n d artists

studio

J u l i a n L a V e r d i e r e a n d Paul M y o d a ( f o r m e r W o r l d V i e w s artists

s p a c e h e s h a r e d w i t h f o u r t e e n o t h e r a r t i s t s as p a r t o f t h e

themselves) i n t e n d the b e a m s to m i r r o r the World Trade C e n -

L o w e r M a n h a t t a n Cultural C o u n c i l ' s W o r l d V i e w s residency,

t e r t o w e r f o r m s b u t also call t o m i n d a v o t i v e c a n d l e f o r t h e

was a p a r t i c u l a r b l o w . W e w o u l d like t h e p e o p l e o f M i n n e s o t a

m e m o r y o f lives lost. G u s t a v o B o n e v a r d i says: " T h e r e w a s a

w h o was w o r k i n g alone in the W o r l d Trade C e n t e r

e s p e c i a l l y t o k n o w t h a t o n e o f his w o r k s c u r r e n t l y resides at

sense o f inevitability a b o u t c o l l a b o r a t i n g — t h e way t h e fire-

Franconia Sculpture Park in Schafer, M i n n e s o t a . T h e piece,

f i g h t e r s a n d t h e p o l i c e a n d t h e w h o l e c i t y h a v e d o n e in t h e

e n t i t l e d Are You Down?,

consists o f fiberglass s c u l p t u r e s s i t u a t e d

r e s c u e e f f o r t . A n d it's k e y t h a t t h i s is n o t a m e m o r i a l . A m e m o -

i n a r i n g a n d deals w i t h t h e t h e m e o f t h e T u s k e g e e A i r m e n , a

rial n e e d s t o b e d o n e , b u t that's n o t w h a t t h i s i s . T h i s is a s t a t e -

s t r o n g c u r r e n t in R i c h a r d s ' s w o r k . H i s m e m o r y a n d s p i r i t will

m e n t t o t h e rest o f t h e w o r l d a n d o u r s e l v e s . " In t r u e p u b l i c a r t

live in t h e w o r k s h e left b e h i n d .

f o r m , C r e a t i v e T i m e is c a l l i n g f o r p u b l i c f e e d b a c k o n

the

i d e a — y o u can add y o u r views by visiting the Creative T i m e In t h e a f t e r m a t h , r e p o r t s a n d r u m o r s p o u r e d i n , a n d w e are

W e b site, w w w . c r e a t i v e t i m e . o r g , w h e r e m o r e i n f o r m a t i o n c a n

g r a t e f u l f o r t h e i n f o r m a t i v e releases p r o v i d e d b y A m e r i c a n s

also b e o b t a i n e d .

f o r t h e A r t s , t h e New York Times, a n d m a n y o t h e r p u b l i c a t i o n s . T h e r e is n o r e a s o n t o p r o v i d e a c h r o n i c l e o r s u m m a r y

t h e s e e v e n t s in this p a r t i c u l a r p u b l i c a t i o n , b u t w e h a v e b e e n g a t h e r i n g i n f o r m a t i o n a b o u t the public art w o r l d and

are

h e a r t e n e d t o r e a d t h e s i g n i f i c a n t d i s c u s s i o n t a k i n g p l a c e in the media about the impact and resounding

importance

p l a c e d o n art, a n d p u b l i c a r t specifically, as a w a y o f c o p i n g , r e s p o n d i n g , a n d finally, f r o m a w i d e r p e r s p e c t i v e , r e m e m b e r i n g a n d m e m o r i a l i z i n g . N o w e v e n m o r e t h e r e is t h e n e e d f o r p e o p l e t o c o m e t o g e t h e r as w e s h a r e i n t h e crisis a n d w h a t lies a h e a d . W e also feel a g r e a t e r r e s o l v e t o strive f o r e x c e l l e n c e in s e r v i n g t h e f i e l d a n d c r e a t i n g in t h e p u b l i c r e a l m in the years to c o m e .

At F O R E C A S T w e believe public art ideas a n d i n f o r m a t i o n s h o u l d b e a c c e s s i b l e t o t h e p u b l i c . Public Art

Review

was cre-

a t e d as a n e d u c a t i o n a l t o o l , a n e t w o r k i n g d e v i c e , a n d a m e a n s o f s h a r i n g c o n t i n u a l l y e v o l v i n g d e v e l o p m e n t s in p u b l i c a r t w i t h p r o f e s s i o n a l s in t h e f i e l d . N o w , f o r t h e first t i m e , PAR has l a u n c h e d its o w n W e b site ( p r e v i o u s l y p a r t o f F O R E C A S T ' S site at w w w . f o r e c a s t a r t . o r g ) . W e i n v i t e y o u t o visit t h e b e t a v e r s i o n o f t h e s i t e at w w w . p u b l i c a r t r e v i e w . o r g a n d tell u s w h a t y o u t h i n k . O u r g o a l is t o c r e a t e an e a s y - t o - u s e c o m p a n ion to the journal with expanded content and opportunities for reader response. W i t h your feedback, w e plan to c o n t i n u e

M u c h d i s c u s s i o n a b o u t a m e m o r i a l has a l r e a d y t a k e n p l a c e ,

t o b u i l d this site w i t h u s e f u l links, listings, artist o p p o r t u n i t i e s ,

s o m e in t h e f o r m o f a d e b a t e a b o u t r e b u i l d i n g t h e t o w e r s . I n

a n d e n h a n c e d e d u c a t i o n a l r e s o u r c e s f o r Public Art Review

l i g h t o f this, w e w o u l d like t o f o c u s o u r r e a d e r ' s a t t e n t i o n o n a

ers t o e n j o y . O n t h e n e w site y o u w i l l f i n d a s u r v e y t h a t y o u

proposal b e i n g offered by N e w York City's Creative T i m e

c a n fill o u t d e t a i l i n g y o u r r e s p o n s e s t o o u r p r o t o t y p e W e b site.

read-

a l o n g w i t h t w o artists a n d t w o a r c h i t e c t s . T h i s p r o p o s a l , called

O n t h i s s u r v e y , s i m i l a r t o t h e o n e s e n t t o y o u in t h e A p r i l

Towers of Light, d o e s n o t y e t s e e k t o m e m o r i a l i z e t h e t o w e r s o r

issue, w e also ask f o r y o u r f e e d b a c k o n p u b l i c a r t in g e n e r a l .

t h e t h o u s a n d s o f m i s s i n g p e o p l e , it is s i m p l y a call f o r s t r e n g t h ,

W e w e l c o m e y o u r views, w e are o p e n to dialogue, a n d w e

a way of r e m e m b e r i n g , and a reclamation ot the buildings

want to hear from you.

RECENT

PROJECTS

Since J u n e 2 0 0 0 , Japanese artist

tion has b e e n an elaborate

light bulb grid and its r u d i m e n -

Athena Tacha designed VICTORY

S u s u m u S h i n g u has b e e n

series of o p e n i n g events involv-

tary n a t u r e b e c o m e apparent.

PLAZA, a 4 0 , 0 0 0 - s q u a r e - f o o t rec-

l a u n c h i n g assemblages of w i n d -

i n g t h e p e o p l e w h o live there.

T h e piece is t e s t a m e n t to

tangle over an u n d e r g r o u n d

activated sculptures at various

In Finland, for instance,

C a m p b e l l s belief that t e c h n o l -

garage at the south entrance of the American Airlines C e n t e r ,

natural sites a r o u n d t h e globe.

children cross-country skied

ogy can be used in ways that

W I N D C A R A V A N — O B S E R V A T I O N OF OUR

t h r o u g h t h e assemblage w h i l e

transcend its soulless nature.

the n e w sports arena in Dallas.

PLANET is " a n a t t e m p t to find o u t

h o l d i n g brightly colored bal-

W i t h the C a m p b e l l installation

Tacha created an asymmetrical linear p a v e m e n t design of three

h o w w e can live in h a r m o n y

loons; in M o r o c c o Berbere chil-

Creative T i m e initiates a five-

w i t h n a t u r e and w h a t is t r u e

dren w e r e given i n f o r m a t i o n

year p r o g r a m of site-specific,

irregular stars f r o m w h i c h 137

happiness t h r o u g h artistic activi-

a b o u t t h e project in Arabic and

temporary, multidisciplinary art-

jets rise in t h r e e - to t w e n t y -

ties and cultural e x c h a n g e w i t h

then d r e w pictures of t h e sculp-

w o r k s located o n the plaza of

o n e - f o o t arcs. A c o m p u t e r p r o -

local people." T h e project began

tures. R e a l time reports of the

the new Ritz-Carlton. C o m i n g

g r a m animates the water in a

o n rice paddies in Japan near

project are displayed at

h o m e to Battery Park City, o n e

d y n a m i c sequence of c h a n g i n g

t h e artist's studio. S u b s e q u e n t

www.wind-caravan.org.

of Creative Time's first venues.

m o v e m e n t s , m a k i n g t h e seven-

installations have b e e n o n

[left Morocco, April, 2001.

Art on t h e Plaza builds o n C r e -

a r m stars appear to twist clock-

M o t u k o r e a Island near A u c k -

Image from Web site]

ative T i m e ' s thirty-year history

wise and counter-clockwise, like

of e n r i c h i n g N e w York's public

t u r n i n g p i n w h e e l s . T h e star image has multiple references—

land, N e w Z e a l a n d , N o v e m b e r 2 0 0 0 ; an ice field in Inari,

Creative T i m e and the R i t z -

spaces w i t h a d v e n t u r o u s public

Finland, February 2001; a rocky

C a r l t o n N e w York, Battery

artworks. F u t u r e Art o n t h e

to the L o n e Star State, to the

hill w i t h t h e ruins of a casbah in

Park, in c o o p e r a t i o n w i t h Bat-

Plaza projects include installa-

A m e r i c a n Airlines logo, to the

M o r o c c o . April 2001; and the

tery Park C i t y Authority, will

tions by Y o s h i t o m o Nara, G a r y

Dallas Stars, and to all the stars

Steppes of M o n g o l i a , July 2 0 0 1 .

launch a n e w public sculpture

H u m e , and K o m a r & M e l a m i d .

of the center's teams. T h e rays

T h e final destination will be o n

initiative, Art o n the Plaza, in

d u n e s near Fortaleza. Brazil

mid-January, 2002, w i t h artist

D e n n i s O p p e n h e i m ' s STAGE SET is

f r o m N o v e m b e r 17—December

J i m C a m p b e l l , w h o has created

2, 2 0 0 1 . For each installation,

PRIMAL GRAPHICS IN A M B E R AND

S h i n g u — w i t h the help of local

G R E E N , his first public sculpture

people—assembles twenty-one

in N e w York City and his sec-

f r e e - s t a n d i n g sculptures m a d e of

o n d project with Creative T i m e .

a l i g h t w e i g h t structural s u p p o r t

T h e o u t d o o r sculpture, c o m -

a n d sail cloth that interacts w i t h

posed of 192 w h i t e light bulbs

t h e w i n d . T h e sculptures are

situated o n a sixteen-by-twelv.e-

easily installed and dismantled

f o o t grid, creates an image of a

w i t h o u t d a m a g i n g the sur-

m o v i n g h u m a n figure in

r o u n d i n g area. In a d d i t i o n , a

s h a d o w (which will change

small w i n d p o w e r station w i t h

daily o n a weekly rotation) that

f o u r windmills and a g e n e r a t o r

is displayed as if it w e r e a film,

is installed at each site and

w i t h seamless technology. As

p r o d u c e s t h e electricity used to

o n e approaches, however, the

illuminate the sculptures at

figure n o t only loses f o r m and

night. Integral to each installa-

b e c o m e s a m o r p h o u s , but the

t h e artist's first public a r t w o r k installed in t h e Pacific N o r t h west. C o m m i s s i o n e d as part of a public e x h i b i t i o n facility develo p m e n t project at the Portland M e t r o p o l i t a n Exposition C e n ter, the w o r k is a m u l t i c o m p o n e n t metal sculpture in e x t r e m e scale, an assemblage of h u m a n f u r n i t u r e enlarged to p r o p o r tions of architecture—a table lamp, for instance, resembles a giant b e a c o n . [middle Photo courtesy the artist]

are m a d e of granite pavers inset in the buff concrete pavement, red or black for alternate stars. A f o u r t h invisible star, e m e r g i n g u n d e r the arena's entrance, p e n e trates with its black rays the adjacent alley to interact with the stars in the p l a z a . T h e w o r k was commissioned by the city of Dallas's Public Art C o m m i t t e e , [right Photo courtesy the artist]

RECENT

PROJECTS

F O R E C A S T Public A r t w o r k s

This s u m m e r eco-artist

F r o m this central disk, a series

This s u m m e r the town of

facilitated the creation o f K i r c h -

Susan Leibovitz S t e i n m a n

of c o n c e n t r i c circles radiate o u t

Lanesboro, M i n n . , was taken

bak Sculpture G a r d e n , a n e w

conceived and directed GARDENS

i n t o the garden.

park in R i c h f i e l d , M i n n . , that

TO GO, an art installation and

has developed over the last t w o

c o m m u n i t y organic garden in

years.Ten sculptures were d e d i -

West O a k l a n d , Calif. Teams

cated in S e p t e m b e r , r a n g i n g

of y o u t h and n e i g h b o r h o o d

f r o m abstract, freestanding

volunteers hauled dirt, painted

pieces to figurative b r o n z e and

tires, arranged b a t h t u b s in pleas-

stone. Artists were Heidi Hoy,

i n g patterns, and t e n d e d the

Nicholas Legeros, Z o r a n

organic plants as part of the

Mojsilov, D e r e k Young, Jane

project's goal to d e m o n s t r a t e

Frees-Kluth, Steven W o o d w a r d ,

accessible, affordable, easy, and

B r u c e Stillman, Craig David,

artistic organic g a r d e n i n g in

D o u g Freeman, and G u i l l e r m o

raised beds and portable c o n -

H e r n a n d e z , w h o created a

tainers. S t e i n m a n f o r m e d a p a r t -

b r o n z e figure symbolizing t h e

nership w i t h West O a k l a n d

unity b e t w e e n R i c h f i e l d and its

N e i g h b o r s (WON) m o r e than a

friendship city, Heredia, Costa

year and a half ago to realize

R i c a . Earth artist D e r e k Y o u n g

WONS d r e a m to have a c o m m u -

created STONE LABYRINTH, a w o r k

nity garden to g r o w f o o d for local n e e d s . T h e project was a recipient of the 2 0 0 0 Potrero

the c o m m u n i t y . Says Young,

N u e v o F u n d Prize.

tural myths and energy fields." J a n e Frees-Kluth created THE GARDENER, a bronze drinking fountain figure m o d e l e d in the likeness ot Bill Kirchner, w h o along w i t h G a r n e t t , his wife, was a leading civic figure in R i c h f i e l d and inspiration for the sculpture garden, [left jane Frees-Kluth, The Gardener. Photo by FORECAST Public Artworks]

to develop arts programs, art exhibits, installations, and public artworks in the m e n t a l health c o m m u n i t y and the criminal

designed to offer b o t h a walking

character, h u m a n desires, c u l -

expressive arts therapist Delfina Piretti have b e e n collaborating

path and a meditative space to " M y w o r k seeks to reflect site

Artist J o a n n a P o e t h i g and

justice system since 1 9 8 5 . T h e i r m o s t recent project. CAB TOP ADS. developed w i t h clients of SAGE project, w h i c h supports w o m e n

over by sculptor Coral L a m b e r t and h e r assistant Karl U n n a s c h to create DISCOVER SCULPTURE, EXPLORE LANESBORO. C o r n u c o p i a Art C e n ter's J o h n Davis, f o u n d e r of the Great A m e r i c a n T h i n k - O f f and n o w resident of Lanesboro, w a n t e d to s h o w t h e n i n e h u n dred inhabitants w h a t their t o w n w o u l d be like if it were a sculpture p a r k â&#x20AC;&#x201D; t h e w h o l e t o w n , n o t just a p o r t i o n . L a m b e r t d e c i d e d

healing f r o m t h e trauma of

to create five large cast-iron

prostitution and sexual abuse,

medallions to be placed a r o u n d

are digitally designed artworks

t o w n w i t h a series of smaller

installed o n t h e tops of taxi cabs

medallions in b e t w e e n . T h e

in San Francisco this past s u m -

medallions serve n o t only as

mer. T h e works present alterna-

markers for f u t u r e sculptures but

tives to t h e images of w o m e n in

also as reminders o f h o w Lanes-

t h e mainstream media, w i t h slo-

b o r o residents see themselves

gans such as " D o n ' t l o o k at m e

a n d their t o w n . At a series of

as an object and I will see you

w o r k s h o p s in J u n e and July,

Seyed Alavi c o m p l e t e d S P E A K I N G

as a h u m a n b e i n g " and " S e x for

L a m b e r t and U n n a s c h collected

STONES, a garden c o n n e c t e d by a

sale is n o t a c h o i c e if it's y o u r

ideas f r o m visitors and residents,

m e a n d e r i n g path to t h e lobby

only o p t i o n . " T h e project was

held public r o u n d table discus-

of t h e R i c h m o n d C o m m u n i t y