Public Art Review issue 32 - 2005 (spring/summer)

ISSUE 3 2 SPRING-SUMMER

^

WWW.PUBUCARTREVIEW.ORG

www.denvergov.org/publicart for more i n f o r m a t i o n on upcoming public art opportunities 1 John McEnroe: Artifacts,

2 0 0 4 2 John McEnroe: Survival, 2 0 0 4 3 John McEnroe: Marking the Land, 2 0 0 4

4 Shan Shan Shenq: Swimming Under the Trees, 2 0 0 4 5 Jonathan Stiles: Aegis, 2 0 0 5 6 Bernar Venet: Indeterminate 7 Douglas Kornfeld: Meeting of Minds, 2 0 0 5 8 Michael Gadlin: Bluecityjungle

Line, 2 0 0 4

(detail), 2 0 0 4 9 Trine Bumiller: Wood Water Rock, 2 0 0 4

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FOREWORD

JACK BECKER

PLAN n. i, A detailed scheme, program, or method worked out beforehand for the accomplishment of an objective.

PLAN, PLAN, PLAN,

DO

U N D E R L Y I N G M A N Y PUBLIC ART PROJECTS IS A PLAN. S O M E PLANS ARE MODEST, S O M E ARE G R A N D I O S E , A N D S O M E PLANS ARE REALLY W O R K S OF ART. PUBLIC ARTISTS USUALLY PLAN THEIR PROJECTS, A L T H O U G H S O M E PREFER TO W I N G IT, A L L O W I N G FATE OR CHANCE TO INTERVENE. VERY F E W ARTISTS I K N O W HAVE BUSINESS PLANS, EVEN T H O U G H THE BUSINESS OF PUBLIC ART IS AS COMPLEX A N D DIFFICULT AS ANY.

In the past t w o d e c a d e s , A m e r i c a n c o m m u n i t i e s

P l a n n i n g and E c o n o m i c D e v e l o p m e n t (PED), I dealt w i t h a n y

h a v e exhibited a v o r a c i o u s appetite for p l a n n i n g , from the

and all arts issues facing the c i t y — a sort of arts czar (with

all-embracing cultural plan to the public art master plan, the

a b s o l u t e l y n o qualifications). It w a s like a b e i n g a

small area strategic p l a n , and e v e n the p l a n to plan. W h a t

a n d a t e l e p h o n e o p e r a t o r — p u t t i n g o u t fires here, m a k i n g

c o m m u n i t i e s crave is a systematic m e a n s of i m p l e m e n t i n g

q u i c k c o n n e c t i o n s there. I had n o plan, no arts c o m m i t t e e s ,

their v i s i o n s and their goals.

and no idea w h a t I might e n c o u n t e r day to day. In order to

For p u b l i c art p l a n s , four c o m p o n e n t s are fre-

fireman

survive I f o u n d m y s e l f r e l y i n g on m y early d a y s of i m p r o v i -

quently addressed: control, process, o u t c o m e , and support.

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

W h o ' s in c h a r g e ? H o w do p e o p l e p a r t i c i p a t e ? W h a t ' s the

sense, and a w i l l i n g n e s s to negotiate.

common

O n e of m y proudest a c c o m p l i s h m e n t s at PED w a s

result? Where's the m o n e y ?

In 1987, the city of P h o e n i x d e v e l o p e d a public art

organizing a three-month Artist Design F e l l o w s h i p program

plan w i t h the help of consultants Bill Morrish and the late

f u n d e d by three city departments a n d the N E A . T h e selected

Catherine B r o w n . It w a s n ' t just for the d o w n t o w n core but

artists—Richard Posner, M i c h a e l Mercil, and Debra F r a s i e r —

rather w a s an urban d e s i g n - b a s e d m a s t e r p l a n , g e n e r a t e d

w e r e g i v e n desks and p h o n e s and told to w o r k side by s i d e

because the city w a s g r o w i n g and a $1.1 billion bond elec-

w i t h city planners, parks directors, and library staff t w e n t y

tion w a s g a i n i n g a p p r o v a l . T h e p l a n took a d v a n t a g e of a

h o u r s per w e e k . T h e first m o n t h artists s p e n t i n t r o d u c i n g

broad base of f u n d i n g sources, not just the traditional percent

t h e m s e l v e s , getting o r i e n t e d to t h e s y s t e m , a n d getting to

of capital dollars. A n d P h o e n i x had a m a y o r w h o w a s w i l l i n g

k n o w each other. T h e second m o n t h they spent absorbing as

to lead the charge and leverage support for the plan. S u d -

m u c h as t h e y c o u l d a b o u t their r e s p e c t i v e

denly, in 1988 P h o e n i x had one of the largest and most pro-

p l a n s for v a r i o u s p u b l i c i m p r o v e m e n t projects. During the

gressive public art programs in the country. A n d it still does.

third m o n t h t h e y d e v e l o p e d p u b l i c art r e c o m m e n d a t i o n s .

department's

Of course, even the best-laid plans can't account for

S o m e ideas w e r e general, s o m e specific; it w a s n ' t about m a k -

everything, and it w a s n ' t long before P h o e n i x w a s embroiled

ing their art or p i t c h i n g t h e m s e l v e s , but p l a y i n g the role of

in a c o n t r o v e r s y o v e r one of its m a j o r c o m m i s s i o n s (Mags

designers and planners w i t h i n the system.

Harries's i n f a m o u s Pots along a major expressway.)

T h e net result for city staffers w a s a d e m y s t i f i c a t i o n

T h e quality of a p u b l i c art p l a n and its s u c c e s s f u l

of w h o artists are (what they do, h o w they think, etc.), appre-

r e a l i z a t i o n is not d e t e r m i n e d by the size of the c o m m u n i t y ,

ciation of the creative input that o t h e r w i s e w o u l d not h a v e

the cost of the plan, nor the stature of those i n v o l v e d . S o m e

surfaced, and a strong desire to i n c l u d e artists in future city

small t o w n s h a v e great plans, as do c o l l e g e c a m p u s e s , resi-

projects. T h e artists, on t h e other h a n d , g a i n e d an u n d e r -

d e n t i a l n e i g h b o r h o o d s , p o c k e t parks, and s p e c i a l s e r v i c e

s t a n d i n g of t h e i n n e r w o r k i n g s of c i t y b u r e a u c r a c y , h o w issues are dealt w i t h , h o w d e c i s i o n s are m a d e , and the diffi-

districts.

O f c o u r s e , s o m e p l a n s sit on the s h e l f a n d n e v e r

cult w o r k that goes on inside City Hall.

lead to anything. I k n o w of at least one plan that cost more

"Plan, plan, plan, d o " is the c r e d o of folks I k n o w in

than $100,000 yet left no m o n e y for a r t w o r k or staff. T h e

the f u n d r a i s i n g w o r l d . It m e a n s w e s h o u l d t h i n k , l i s t e n ,

h o p e w a s that the p l a n w o u l d inspire interest and generate

s p e a k , a n d share. T h e n w e s h o u l d w r i t e e v e r y t h i n g d o w n

support. O n e thing w a s certain: It w a s easier to find m o n e y

a n d repeat the s t e p s w i t h r e v i s i o n s . T h e n r e w r i t e . A g a i n .

for the plan than it w a s for the art.

Okay, n o w w e can act.

Back in the late 1980s I served as arts d e v e l o p m e n t

Or not.

manager for the city of St. Paul. Based in the department of

Welcome to the newly redesigned Public Art Review, with more pages, more color, and more content.

Tim O'Keeffe. and to Nichole

Alwell

Thanks to our

designer.

and others here at FORECAST for their creative efforts and hard work. We also want to

welcome our newest staff member, Ann M. Hale, who joined us in March and is heading up marketing,

fundraising,

tions. As the field of public art grows, FORECAST and Public Art Review hope to grow, and your continued is a big part of that. So thanks to you, our faithful

readers. As a small nonprofit

and opera-

support of our efforts

that likes to think big, we take all the help we can

get. Please let us know what you think of the redesign, as well as any comments,

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support.

the sky's the limit

Indian Hunter and His Dog

by Paul Manship, 1928

Photos by Brad Daniels Š Public Art Saint Paul

C o n s e r v a t i o n and restoration of ulpture, public art and www.ScottsdalePublicArt.org | 480-874-4645

esign phase conservation assessment

7 3 8 0 E. S e c o n d S t r e e t , S c o t t s d a l e , A r i z o n a 8 5 2 5 1 t] |

monuments,

of n e w w o r k s of public art.

James Turrell, Knighl Rise, 2001, o public "skyspace" commissioned by Ihe Scottsdale Public Art Progcam for Ibe Nancy and Art Scbwalm Sculpture Garden,

kcheronis@earthlink.net

612.788.5585

Scottsdale Museum of Contemporary Art. Photo: Opus Advertising, LLC.

USC School of Fine Arts

Graduate Program in Public Art Studies T h e U S C M a f t e r o f P u b l i c A r t S t u d i e s is a t w o - y e a r professional p r o g r a m o f f e r i n g courses in the e v e n i n g s . C r o s s - d i s c i p l i n a r y faculty p r a c t i c i n g in the public realm direcft students t h r o u g h theoretical and practical curricula and facilitate p l a c e m e n t in m e n t o r e d internships at regional cultural institutions. L o c a t e d in L o s A n g e l e s , the p r o g r a m is situated i n an e x c i t i n g international locus o f c o n t e m p o r a r y art, public art, and architecture.

D e c r e e s offered: M a f t e r o f Public A r t Studies, M after o f Public A r t S t u d i e s / M after o f Planning.

Watt Hall 104 University Park 90089-0292 t: 2 1 3 T ^ ^ f f ^ e: pasprog@use.edu SCHOOLOK FINE ARTS |

www.usc.edu/publicart

ISSUE 3 2 , V O L . 1 6 , N o . 2 • S P R I N G - S U M M E R

2005

Features 10 A Tale of 4 Cities What do Eugene,

San Diego, Nashville,

Tacoma have in common? cities, they've

and

Like dozens of other

dealt with public

art

planning.

RONALD LEE FLEMING, JERRY ALLEN, JACK MACKIE & JUDYWAG0NFELD

24 When Museums Go Public Some art museums

are growing

white cube and reaching spite of the pitfalls.

beyond

new

the

audiences—in

GREGG NARBER

28 Questions for Consultants Here's advice from the experts,

the folks

trust to lead us through the public quagmire.

31

ANN KLEFSTAD

Facilitation 101

No two selection forging

consensus

taught?

33

we

art

panels

are the same

and

is truly an art. But can it be

PORTER ARNEILL

Unrealized Public Art

Most public

art projects—including

best—never

get off the drawing

some barely squeak

some of the board,

and

by. |0YCE P0MER0Y SCHWARTZ

36 Planning to Stay Maintenance planning,

and conservation

know-how,

require

careful

and money. If you're

on board, you should be.

not

GLENN WHARTON

COVER: Tim O'Keeffe's montage, with a photo of Isamu Noguchi in the studio.

(Photo: Michio Noguchi) THIS PAGE: Richard Serra, during the installation of Schannmnli fork at Storm King Art Center, Mountainville, New York, 1991. (Photo: Jerry L. Thompson) ARTIST PAGE: Our centerfold artwork was created for this issue hy Minneapolis artist Keith Christensen, who teaches in the Art Department at St. Cloud State University in Minnesota.

Recent works include We freedom Sim exhibited at the Neuberger Museum's Public Art Biennial and loc3l Connections for the Hiawatha Light Rail Public Art Program (reviewed on page 53).

LAST PAGE: Contributing editorial cartoonist Chris Monroe is a Duluth-based artist and author. Her weekly strip for the Minneapolis Stir Mm,

"Violet Days," reads like

a Charles Adams version of Rug Rats. Her new hook Ultra Violet: Ten rem ol Violet Boys was published in 2004 by x communication.

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PUBLIC ARTREVIEW

Departments 43

WALTZ ACROSS TEXAS

Public

art

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is big state

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FORECAST

NEWSLETTER

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THE HIAWATHA

One

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PAGE

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TAIPEI'S BUNKER

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GULGUN KAYIM

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56

PROJECTS

by E L E A N O R H E A R T N E Y

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R E G I N A M . F L A N A G A N with

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A N J A L I G U P T A & R E B E C C A S. C O H E N

50

FOREWORD

our

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is a new

and

China

a former kind

MUSEUM lies

bomb

of venue

target

for

art.

JANE I N G R A M A L L E N

58

DIGITAL

The

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can

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C O M I N G N E X T I S S U E (FALL 2 0 0 5 ) :

ALTMAN

MURALISM PUBLIC ART REVIEW VOLUME 16, NUMBER 2 publisher F O R E C A S T PUBLIC

ARTWORKS

m a n a g i n g e d i t o r JACK BECKER

© 2005 Public Art Review (ISSN: 1040-211 x) is

FORECAST board of directors

published semiannually by FORECAST Public

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FORECAST staff executive director / publisher JACK BECKER

Public

Art Review

is i n d e x e d by Art Index.

p r o g r a m a s s o c i a t e N I C H O L E ALWELL

development / business manager ANN M. HALE

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ft F O R E C A S T Public A r t w o r k s

MARK JOHNSTONE, STEPHEN KNAPP, SUZANNE L A C Y , JACK M A C K I E , J I L L M A N T O N , J E N N I F E R M C G R E G O R , P A T R I C I A P H I L L I P S , JOYCE P O M E R O Y

NATIONAL ENDOWMENT

SCHWARTZ, P H I L PREGILL

FOR THE

ARTS

IF Y O U T H I N K "AFTER ALL, A P L A N IS JUST A P L A N , " T H I N K A G A I N . A S A S P R I N G B O A R D TO A C T I O N , A P L A N C A N MOTIVATE MOVERS, STIMULATE SHAKERS, A N D C O M M U N I C A T E

CONCEPTS. BUT H O W

D O D I F F E R E N T CITIES

A P P R O A C H T H E D E V E L O P M E N T OF P U B L I C ART? W H A T ARE W A Y S I N W H I C H P L A N N E R S E N G A G E C O M M U N I T I E S I N T H E PROCESS? H O W

D O G R O U P S O F PEOPLE G I V E F O R M T O I D E A S A N D PREPARE T H E M S E L V E S FOR

NEW

A D V E N T U R E S I N P U B L I C ART? A N D W H A T A B O U T T H E ARTISTS? S H O U L D N ' T T H E Y H A V E A SAY?

O F C O U R S E P U B L I C ART P L A N N I N G IS A W O R K I N PROGRESS; IT'S NEVER REALLY D O N E . F U R T H E R M O R E , N O T W O P L A N S ARE A L I K E . M A N A G E M E N T STYLES VARY, T H E PLAYERS C H A N G E , F U N D E R S ARE FICKLE, A N D

POLITICAL

W I N D S S H I F T . O F C O U R S E T H E R E I S N ' T O N E W A Y T O CREATE A SUCCESSFUL P L A N . A N D T H E R E ARE M O R E T H A N A F E W C A U T I O N A R Y T A L E S . T H R O U G H T R I A L A N D ERROR, H O W E V E R , W E LEARN W H A T W O R K S A N D W H A T D O E S N ' T .

IT IS O U R H O P E THAT, BY S H A R I N G T H E S E STORIES, C O M M U N I T I E S M A Y I M P R O V E T H E I R C H A N C E S OF SUCCESS. H E R E ARE T H E TALES OF F O U R CITIES T H A T H A V E BEEN D O W N T H I S R O A D , AS T O L D BY A N ARTIST, A P L A N N E R , A JOURNALIST, A N D A CONSULTANT.

Eugene A Saga of Shifting Design Sensibilities R O N A L D LEE F L E M I N G

This article

is excerpted from

Fleming's

forthcoming

book, T h e A r t of P l a c e M a k i n g : C r e a t i n g P u b l i c A r t , U r b a n Design a n d I n t e r p r e t a t i o n T h a t Tell You W h e r e You A r e .

A t its best, p u b l i c art roots c o m m u n i t i e s in their histories and fosters a sense of place. But in order to understand a shift that has increasingly nurtured place-making art, one must look b a c k at the urban design h u r d l e s that often naive planners and arts c o m m i s s i o n e r s encountered in public art's earlier days. In the 1980s, w h a t c a m e to be k n o w n as the " T a n k T r a p " s c u l p t u r e at the c e n t e r of d o w n t o w n E u g e n e ' s barren p e d e s t r i a n m a l l s t o o d as the e p i t o m e of b a n a l p l a c e l e s s n e s s . So it is p a r t i c u l a r l y h e a r t e n i n g to see this crossroads r e v a m p e d . N o w , instead of a concrete barrier stands a sensitive, site-specific series of artistic signposts that locate the v i e w e r in time and place.

T h i s dramatic change prompts a reexamination of other aspects of the urban design journey of this small, progressive city, h o m e to the University of Oregon. Both the city and the university e v i d e n c e their c o m m i t m e n t to public art, f r o m large-scale p r o j e c t s on c a m p u s to art integrated into architecture at Eugene's Hult Center for the Performing Arts.

T h e s e victories encourage a closer look at Eugene, in many w a y s a t y p i c a l s m a l l city, w h i c h s h o u l d inspire the m a n y c o m m u n i t i e s around the country facing similar urban design c h a l l e n g e s o c c a s i o n e d by the r e m n a n t s of 1 9 7 0 s " u r b a n r e n e w a l " a n d its legacy of a n o n y m o u s and often u n u s a b l e public space.

THE WORST OF 1970s S E N S I B I L I T I E S

ABOVE: Eugene skyline.

OPPOSITE PAGE: The non-functioning concrete fountain known locally as the " M Trap" sat from 1971 to 1995 in the main intersection in Eugene, now open to auto traffic and enlivened by these place making columns, commissioned by the county's Lane Arts Council.

OPPOSITE PAGE TOP INSET: Betsy Wolfston and Davis Thompson, 4 Season Columns, Summer, 1996, concrete, metal, stoneware, terrazo & gold leaf.

OPPOSITE PAGE BOTTOM INSET: Betsy Wolfston and Davis Thompson, 4 Season Columns, Hutumn, 1996, concrete, metal, stoneware, terrazo & gold leaf.

b u s i n e s s p e o p l e w e r e not pleased w i t h the group's suggestion, and they carried the day.

Another citizen-based council selected a scheme for the n e w d o w n t o w n from a m o n g s u b m i s s i o n s in a public RFP. Hugh Mitchell, of Mitchell and M a c A r t h u r L a n d s c a p e A r c h i t e c t s , d e s i g n e d the plaza in 1970. In order to b u i l d the mall, m a n y f u n c t i o n a l , historic, multistory b u i l d i n g s w e r e torn d o w n , r e p l a c e d by a flat e x p a n s e of single levels. With m u c h of d o w n t o w n ' s built history gone and a sense of place d i m i n i s h e d , there w a s a clean slate on w h i c h to construct the n e w mall.

T h e design w a s left entirely to the landscape architect. A l t h o u g h this w a s an opportunity to create a coherent public space at the core of d o w n t o w n , Mitchell's design solution w a s extremely harsh. For the center, he created a mass i v e c o n c r e t e " w a t e r f e a t u r e " ( f o u n t a i n s w e r e against the HUD grant regulations). Its c l u n k y modernist concrete form

f |

With the w i d e s p r e a d s u b u r b a n i z a t i o n of the late

b e c a m e derisively k n o w n as the "Tank Trap." Within several

|

1960s, E u g e n e e x p e r i e n c e d a t y p i c a l p h e n o m e n o n . B u s i -

years, p r o b l e m s e m e r g e d w i t h the w a t e r feature: c r a c k s , leaks, faulty spotlighting. U n f o r t u n a t e l y , the city had neglected to set aside m o n e y for maintenance. Within a decade, the fountain w a s a dusty, trash-littered eyesore rather than an

J | § Ž

amenity, a stark v i s u a l representation of the d y s f u n c t i o n a l d o w n t o w n and a remnant of ill-considered planning ideas.

|

n e s s e s , o n c e f o c u s e d at city center, g r a v i t a t e d t o w a r d the edges as h i g h w a y d e v e l o p m e n t and low-cost mortgages subs i d i z e d s p r a w l . In r e s p o n s e , city l e a d e r s s o u g h t a f e d e r a l urban r e n e w a l grant from the D e p a r t m e n t of H o u s i n g a n d Urban D e v e l o p m e n t (HUD). C o n s e q u e n t l y , Eugene had the m i x e d b l e s s i n g of r e c e i v i n g the last H U D u r b a n r e n e w a l grant ever a w a r d e d . In 1 9 7 1 , the city used the grant to con-

UNDOING THE UNLEGACY OF THE TANK TRAP

struct a d o w n t o w n pedestrian mall plaza, but local l a n d o w n -

During the 1970s, d o w n t o w n Eugene s l o w l y began

ers c o n t i n u e d to d e v e l o p r e g i o n a l s h o p p i n g m a l l s on the

rebuilding itself as a place. B y 1978, local arts advocates gar-

I f

outskirts of Eugene. A c c o r d i n g to Fred Tepfer, p l a n n i n g asso-

nered e n o u g h support to pass a city hotel room tax to con-

s

ciate at the U n i v e r s i t y of O r e g o n , " E u g e n e had the misfor-

struct a world-class performing arts center, w h i c h w o u l d also

I

tune of being very progressive at the w r o n g m o m e n t . "

contain p u b l i c art through a percent-for-art ordinance. T h e

g

T h e city hired a local architectural firm, U n t h a n k

Hult Center for Performing Arts o p e n e d in 1982, o n l y a f e w

|

Seder Poticha A r c h i t e c t s , to design the mall. Otto Poticha,

blocks from the Tank lYap site. T h e Eugene City C o u n c i l had

=

local architect, refused the project, pointing out that the mall

created a Performing Arts C o m m i t t e e to oversee the center's

I

w a s an e x p e n s i v e q u i c k - f i x to a m u c h larger

problem.

construction and design. T h i s group d e c i d e d that the center

J

Instead, he suggested that his firm c o n d u c t a study of pedes-

s h o u l d utilize art as part of the project, and they selected an

I

trian needs in the d o w n t o w n area. Poticha's team hired thirty

architect to w o r k with them on this vision. F u n d i n g from the

"consultants," local citizens w i t h an interest in the future of

N E A , Oregon Arts Council, private donors through

d o w n t o w n . T h i s group c o n c l u d e d that creative and locally

Eugene Arts Foundation, and .5 percent of the construction

tailored solutions suited the city m u c h better than the raze-

b u d g e t s u p p o r t e d w o r k s by thirty artists, most f r o m the

and-rebuild option of the mall proponents. But the director

region. T h e integration of art and craft into the b u i l d i n g

of urban r e n e w a l and the d e s p e r a t e and i n f l u e n t i a l local

s h o w e d a c o m m i t m e n t to the space as a locus of culture in

the j }

the city. T h e center also houses a gallery w i t h temporary exhibits. The detailing of the building brought out the richest integration of art and craft. One playful example is the decorative tiling in the restrooms, hand-painted by Oregon artist A n n e Storrs. The men's tiles show the straightening of a tie, w h i l e the women's depict putting on makeup.

Despite the success of the Hult Center, the core of d o w n t o w n Eugene remained depressed. By the 1990s, citizens narrowly voted to open the mall to traffic in an attempt to revitalize the center; this same p h e n o m e n o n transformed pedestrian malls across America. T h e hulking water feature between the two main streets had to go, since it was fully tied to the intersection's infrastructure. Mayoral candidate Ruth Bascom even ran her w i n n i n g campaign with a promise to jackhammer the sculpture. A n d jackhammered it was, in 1995.

The budget for overhauling the mall provided percent-for-art f u n d i n g for the signposts n o w standing at the intersection. W h e n the city council created a design committee to oversee the conversion to a vehicular street, members soon realized there w a s a m u c h greater opportunity than mere aesthetic enhancement. The team looked at the use of the space and related issues, m u c h like Poticha's original team so long before. By now, though, the city was ready for this functional wisdom. The team brought its behaviorally informed v i s i o n to the city c o u n c i l , w h i c h doubled the money originally set aside for redevelopment. The arts council in turn used the design committee's completed study to focus its search for artists. As Douglas Beauchamp, former executive director of the Lane Arts Commission, said, "We'd gone through the plaza design process. It established principles. We were better informed and could tell artists what w e were trying to accomplish with the plaza."

The Lane Arts Council sent out a detailed request for proposals, with goals that included "a sense of arrival and c o n n e c t i o n to the c o m m u n i t y " as w e l l as "a place that expresses symbolic, historic and ceremonial community values." This explicit request encouraged place-related proposals, and the c o u n c i l sought a project that anchored the location to community identity. One of two winning proposals included a set of pillars made from concrete, stone, terrazzo, metal, and gold leaf. These markers sit on the corners of the same intersection once filled by the Tank Trap. Local artists Betsy Wolfston and David Thompson designed them with chronologies of local history carved into the granite bases, w h i c h were coordinated with brick artist Scott Wylie, w h o was w o r k i n g on the other w i n n i n g proposal for the intersection. One for each season, the pillars have tiers of textual information and point the way toward places of historical and e n v i r o n m e n t a l significance, both w e l l - k n o w n sites and ones off the beaten track. The pillars also invoke

Eugene's varied past: The bases contain a timeline of significant events in Eugene's history, including the construction of the Hult Center. Wolfston's commitment to portray her hometown honestly compelled her to acknowledge some of the city's more difficult history. For example, one controversial caption addresses the history of the region's native tribe: "Kalapuyas forced to reservation." In a global gesture, the names of the seasons are carved in different languages.

S i x years after the installation, the city again declared its intention to open up d o w n t o w n to more traffic, w i d e n i n g the street where the markers stood. Often, civic design changes can become an excuse to get rid of controversial art. But because the markers are admired, the city's architects and designers rallied around them. In contrast to the Tank Trap, these markers have a constituency that insured their preservation.

THE UNIVERSITY: A PARALLEL UNIVERSE In 1 9 7 4 , w i t h the aid of architect and theorist Christopher A l e x a n d e r from University of California Berkeley, the U n i v e r s i t y of Oregon's p l a n n i n g department adopted "the Oregon Experiment," a schematic approach to c a m p u s growth rather than a fixed master plan. T h e plan served to guide the university's development and continues to exert influence on campus. At the center of the scheme is the participation of building users in the design and planning processes.

A sense of proprietorship forces users to make tough and realistic decisions, and to consider their values. How important is art? How important is a livable space? For example, the user groups that helped design the 1989 Science Complex accepted a 12 percent decrease in assignable space in order to keep some important design features- 1 According to Fred Tepfer, it is sometimes difficult to get groups to stand behind challenging or interesting art. But he sees people's familiarity with a building's day-to-day functionality as an important insight in choosing and siting art effectively.

The design of the multidepartmental Science Complex was, by all accounts, an impressive orchestration of efforts and interests. Lotte Streisinger coordinated the integrated art for the Hult Performing Arts Center as w e l l as for the S c i e n c e C o m p l e x . She w a s d e e p l y concerned about avoiding "plop art." To sidestep controversy and appeal to many different b u i l d i n g users, the committee selected a broad range and a large number of works. 2 Thematically, the art in the Science Complex tied the building to the sciences housed within. A variety of gargoyles by Northwest artist Wayne Chabre depict prominent scientists. Chabre had also completed a series of animal gargoyles in 1986 for the University's Museum of Natural and Cultural History, using totemic images of local w i l d l i f e —

raven, s a l m o n , and b e a r — s i g n i f i c a n t to the native tribes repr e s e n t e d w i t h i n t h e m u s e u m . In total, C h a b r e

installed

t w e l v e gargoyles by 1988. Kent Bloomer's " P h y s i c s W a l l " in Willamette Hall represents the b r a n c h e s of p h y s i c s h o u s e d in the b u i l d i n g through a system of ornamentation. Details throughout

the

huge

atrium

display

motifs

based

on

t h e m e s suggested to the artist by p h y s i c i s t s . B l o o m e r also s u s p e n d e d a f i e l d of m e t a l " s t a r s " in the tall s p a c e . T h e University hired the artist u n d e r a separate agreement from the b u i l d e r s , c a u s i n g m u l t i p l e c o n f l i c t s b e t w e e n the artist and contractors r u n n i n g the b u i l d i n g site. T h e lack of coord i n a t i o n b e t w e e n the b u i l d i n g c o n s t r u c t i o n and art c o n tracts w a s so great that the artist e v e n had to i n c o r p o r a t e separate s c a f f o l d i n g into his budget. 5 In spite of h u r d l e s , the S c i e n c e C o m p l e x p r o v i d e d the budget and o p p o r t u n i t y for an integration of p u b l i c artworks that w a s w e l l - r e c e i v e d by the U n i v e r s i t y community.''

T h e University, u n d e r the a u s p i c e s of the state, also runs a percent-for-public-art program. S i n c e there is o n l y one staff m e m b e r at the O r e g o n A r t s C o m m i s s i o n a v a i l a b l e to o v e r s e e the projects, it is often i m p o s s i b l e to c o o r d i n a t e artists and architects early in design processes, w h e n it is most important. Still, p u b l i c art is w e l l - l o v e d on c a m p u s , and n o w some departments are taking the initiative to purchase their o w n art, w i t h o u t the instigation of the program.

A m o n g more recent projects, an addition to and renovation

OPPOSITE PAGE: Northwest artist Wayne Chabre sculpted his copper bear in 1986 as part of a series of local wildlife gargoyles adorning the University's Museum of Natural and Cultural History.

LEFT: Mike Mandel created these tile mosaic columns in 2003. Located outside the stadium, athletic archival photographs celebrate the University's sports history.

RIGHT: Kent Bloomer, hanging installation at Willamette Hall, 1989, University of Oregon.

of the s t a d i u m p r o v i d e d state percent-for-art f u n d i n g . In 2004, M i k e M a n d e l created three twenty-two-foot glass and

n a t i v e is d e a d s p a c e and b o a r d e d - u p b u i l d i n g s . P l a n s for n e w b u i l d i n g s h a v e s l o w l y e m e r g e d to r e a n i m a t e parts of d o w n t o w n , i n c l u d i n g a library and d o w n t o w n apartments.

L o w rents also serve as catalysts for creative solutions to problems. Tenants, i n c l u d i n g art galleries a n d g r o u p s l i k e t h e D o w n t o w n I n i t i a t i v e for t h e V i s u a l A r t s ,

have

attempted to r e v i t a l i z e d o w n t o w n t h r o u g h artistic e n d e a v ors, exhibits, classes, and events. A l s o , the Eugene C o m m u nity Trust has w o r k e d since 1995 on efforts to fill the m a j o r v a c a n c i e s in d o w n t o w n b u i l d i n g s w i t h c o m m u n i t y - o r i e n t e d spaces. A Saturday market featuring p r o d u c e a n d crafts has d r a w n an i d i o s y n c r a t i c c r o w d to d o w n t o w n s i n c e 1 9 7 0 , w h e n Lotte Streisinger c o n c e i v e d the idea.

Tepfer, a long-time Eugene resident, m u s e s to h i m self w h i l e w a l k i n g around d o w n t o w n w i t h both his resident and planner glasses on: " S o m e t i m e s I think I'm b e g i n n i n g to tile photo-mosaic c o l u m n s from archival photographs of Oregon football players and cheerleaders that celebrate the history and culture of the university.

see signs of life, but s o m e t i m e s I think, oh m y gosh, this u s e d to be a real t o w n s c a p e a n d not a m a l l s c a p e . " A r t h a s n o t c h a n g e d the s o c i a l fabric, b u t w i t h a strong p u b l i c

art

p r o c e s s , d u r a b l e , lasting, a n d s i g n i f i c a n t p r o j e c t s h a v e a

SLOW CHANGE

c h a n c e to e n r i c h the city w h i l e the e c o n o m y e v o l v e s . T h e

A c c o r d i n g to Richie Weinman, from Eugene's Com-

p l a c e - m a k i n g g u i d e p o s t s , born out of the trauma of d e s i g n

m u n i t y D e v e l o p m e n t Division, d o w n t o w n Eugene is still a

failure, are the most significant e l e m e n t s so far to mark the

depressed area, despite the street-level changes. With g r o w t h

recovery of p l a c e m e a n i n g .

boundaries for m u n i c i p a l i t i e s , Oregon's progressive land use l a w s of 1973 s l o w l y bring about s o m e growth, as a c y c l e of

R O N A L D LEE F L E M I N G , A.I.C.P.. is an author and planner

shifting d e m o g r a p h i c s u n f o l d s . Tepfer says that d e v e l o p e r s

Cambridge, Massachusetts. As president of the Townscape Institute, Fleming works as an urban designer and preseri'ationist.

He

a n d l o w - r e n t tenants n o w s e e k out d o w n t o w n b u i l d i n g s , once h o m e to department stores. Otto Poticha notes that disa p p o i n t e d citizens, once again impatient and ever-ready to o p p o s e change, protest this evolution even though the alter-

gratefully acknowledges man, of the Townscape this article.

in

the assistance of Melissa Tapper Goldstaff, for research and development of

NOTIS: r. John Moseley, "From Participation to Ownership: How Users Shaped the Science Complex." Places: A Forum of Environmental Design, 7 no. 1 (1991), 16.

2. Lotte Streisinger, "People, Place and Public Art," Places: A Forum of Environmental Design. 7 no. 1 (1991), 56.

3. Kent Bloomer, 'The Confounding Issue of Collaboration between Architects and Artists." Places: A Forum of Environmental Design, 7 no. 1 0991).

4. Streisinger, 52.

2 San Diego Overcoming Challenges JERRY A L L E N

In the spring of 2002, the San Diego C o m m i s s i o n

Like

every

community

planning

process,

San

for Arts and Culture engaged m y firm, Jerry A l l e n and Asso-

Diego's public art master plan encountered challenges. T h e

ciates, to d e v e l o p a p u b l i c art master plan for the city. W h i l e

first i n v o l v e d l a n g u a g e in the city charter g i v i n g the city

San Diego had been d o i n g p u b l i c art projects for almost fif-

manager the e x c l u s i v e right to d e v e l o p and present the city's

teen years, the city's program w a s governed not by a percent-

annual capital budget to the city council. T h e city attorney

for-art o r d i n a n c e but by a p o l i c y that a l l o w e d artists to be

i n t e r p r e t e d this p r o v i s i o n as p r e c l u d i n g a percent-for-art

m e m b e r s of the d e s i g n t e a m for s e l e c t e d c a p i t a l p r o j e c t s .

ordinance since it w o u l d limit the city manager's ability to

T h i s had led to spotty a p p l i c a t i o n of public art policy, leav-

craft the annual budget. In researching this problem, the con-

ing it to d e p a r t m e n t a l staff a n d project managers to deter-

sultant team d i s c o v e r e d that the city c o u n c i l had p r e v i o u s l y

m i n e w h e t h e r a particular project w o u l d h a v e a p u b l i c art

adopted a p o l i c y directing the city manager to i n c l u d e a spe-

component.

c i f i c p e r c e n t a g e of the general f u n d b u d g e t for the a n n u a l

T h e 2002 p l a n n i n g process began w i t h the appoint-

library system budget. U s i n g that as a m o d e l , w e crafted a

ment of a steering committee of more than thirty members,

similar p o l i c y directing the city manager to i n c l u d e an allo-

i n c l u d i n g s u c h p e o p l e as Mary Bebee of the Stewart Collec-

cation of 2 percent for public art in most city capital projects.

tion at U C S D and Hugh Davies of the La Jolla M u s e u m . To

T h i s a p p r o a c h passed legal muster.

d e v e l o p a p u b l i c art program that w o u l d a p p l y to private d e v e l o p m e n t , the c o m m i s s i o n w i s e l y c h o s e as c o m m i t t e e

ABOVE: San Diego skyline.

cochairs Iris Strauss, local collector, arts patron, and w i f e of a

BELOW: Marcos Ramirez and Teddy Cruz, Pump 'ilion Si #4,2004.

local developer, and Dene Oliver, a local d e v e l o p e r w h o con-

OPPOSITE PAGE: Mark di Suvero, Isis, 2004.

sistently i n c l u d e s art in his projects.

T h e second major challenge arose from a loose-knit

The twenty-month planning process emphasized

g r o u p of local p u b l i c artists c a l l e d P u b l i c A d d r e s s . T h e y

broad p u b l i c input from more than 300 participants, repre-

b e l i e v e d that local artists had not b e e n g i v e n s u f f i c i e n t

senting c o m m u n i t y groups, business i m p r o v e m e n t districts,

opportunities to do public art projects in San Diego. T h e con-

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

sultant team w o r k e d directly with this group to address s o m e

architects, media, and representatives from m a n y city depart-

of their concerns. Jack Mackie, a m e m b e r of the consultant

ments. T h i s i n c l u s i v e approach resulted in a c o m p r e h e n s i v e

team, organized a series of design charettes for local artists

p l a n that e n h a n c e s the a l i g n m e n t of p u b l i c art w i t h larger

and a r c h i t e c t s to p r o v i d e them w i t h direct e x p e r i e n c e in

c o m m u n i t y and d e s i g n c o n c e r n s i n San Diego. T h e p l a n

d e v e l o p i n g public art projects.

focuses on strengthening the city's p u b l i c art program in t w o

T h e third and most difficult challenge arose from a

w a y s : First, it increases opportunities for m e a n i n g f u l c o m m u -

r e c o m m e n d a t i o n e x t e n d i n g the public art requirement to pri-

nity i n v o l v e m e n t and general p u b l i c a w a r e n e s s of p u b l i c art's

vate c o m m e r c i a l and industrial d e v e l o p m e n t . T h e consult-

role in the c o m m u n i t y . S e c o n d , it s t r e a m l i n e s

ants met w i t h d e v e l o p e r s and representatives of the b u i l d i n g

administration and centralizes management of the p u b l i c art

trades, all of w h o m w e r e strongly o p p o s e d to requiring pub-

program w i t h i n the C o m m i s s i o n on Arts and Culture.

lic art in private d e v e l o p m e n t . T h e specific r e c o m m e n d a t i o n m a n d a t e d 1 p e r c e n t for p u b l i c art in n e w

developments

program

C o p i e s of the p l a n can be obtained from the C o m m i s s i o n for A r t s a n d C u l t u r e , 1 0 1 0 S e c o n d A v e n u e , S u i t e

( e x c l u d i n g residential d e v e l o p m e n t ) , w i t h a .5 percent in-

5 5 5 , M S 6 5 2 , San D i e g o , C A 9 2 1 0 1 - 4 9 9 8 . C o n t a c t t h e m at

lieu fee to be paid to a public art fund for public art projects

619-533-3050 or visit w w w . s a n d i e g o . g o v .

a n y w h e r e in the city. W h e n the plan w a s presented to the city c o u n c i l , d o z e n s of d e v e l o p e r s s p o k e in o p p o s i t i o n . It

JERRY A L L E N has been involved

w a s at this point that h a v i n g d e v e l o p e r s on the steering com-

art planning

mittee p r o v e d v a l u a b l e . D e n e O l i v e r v o l u n t e e r e d to m e e t

Office of Cultural

fields

since Affairs

in the cultural

and

1985. He serves as director of San Jose,

public of the

California.

w i t h the o p p o n e n t s of the p l a n a n d craft a c o m p r o m i s e , w h i c h w a s s u c c e s s f u l , a n d the city c o u n c i l s u b s e q u e n t l y adopted the public art master plan u n a n i m o u s l y .

17

3 Nashville A Bridge to the Future JACK M A C K I E

Last summer, the Shelby Street Pedestrian Bridge that crosses the Cumberland River in d o w n t o w n Nashville, Tennessee, was officially dedicated and opened. The bridge, previously closed to vehicular use due to structural inadequacies, w a s salvaged, repaired, repainted, and relit to become a focused illustration of the new growth and changes occurring in d o w n t o w n Nashville. Prior to the official opening, seventy-five artists, designers, urban planners, and city residents met on the bridge at the start of the second of two public art w o r k s h o p s c o n d u c t e d by the Metropolitan Nashville Public Art Program. The workshops were the first manifestation of the city's retooled public art program, now being launched through a series of n e w commissioned works and several large infrastructure projects.

T h e formal objectives of the w o r k s h o p s were to explore the numerous ways that public art can serve as a tool of urban design, to further conversations of the Nashville aesthetic, to select locations for the first Nashville public art projects, and to v i e w the city from a n e w point of v i e w — through the lens of public art. A n unstated objective was to get local artists, architects, landscape architects, and planners into the same room to discuss their real and perceived roles in Nashville.

While there are terrific examples of art in the public realm in Nashville, many participants had little experience w i t h p u b l i c art-—its forms, methods, and ever-expanding venues.

At the first workshop, participants viewed slides of recently built public art projects from across the country, i n c l u d i n g small-scale c o m m i s s i o n s and large-scale infrastructure work: neighborhood benches, p a v i n g projects, transportation projects, w a s t e w a t e r reclamations. Participants then focused on the Plan of Nashville, a fifty-year plan

that will guide public policy, development practice, urban planning, and design for the urban core and neighborhoods adjacent to it. Through community-based visioning sessions, ten guiding principles were developed: 1. Respect Nashville's natural and built environment.

2. Treat the Cumberland River as central to Nashville's identity.

3. Reestablish the streets as the principal public space of community and connectivity.

4. Develop a convenient and efficient transportation infrastructure.

5. Provide for a comprehensive, interconnected greenway and park system.

6. Develop an economically viable downtown district.

7. Raise the quality of the public realm with civic structures and spaces.

8. Integrate public art into the design of the city—its buildings, public works, and parks.

9. Strengthen the unique identity of neighborhoods.

10. Infuse visual order into the city by strengthening sightlines to and from civic landmarks and natural features.

Workshop participants were randomly separated into eight teams and assigned a specific district of the city.

Then the teams studied their district and located places and u p c o m i n g projects where the principles could be used as guiding tools to create public art. T h e eight-member teams then presented their c o n c l u s i o n s to the full group using m a p p i n g s , sketches, and text notations. The last exercise asked each participant to prioritize all the project areas pre-

sented. Out of this p r o c e s s the S h e l b y Street Bridge land-

of a n e a r b y r i v e r barge c o n s t r u c t i o n p l a n t , a n d t h e y w e r e

ings w e r e identified as the primary location for the p u b l i c

freed to dream w i t h o u t w o r r y i n g about budget. Finally, par-

art program's initial project.

ticipants presented their ideas and tied them back into the

In the s e c o n d w o r k s h o p , participants met on the

Plan's principles. Ideas w e r e wide-ranging: s i d e w a l k p a v i n g

bridge, w h e r e they n o w s a w their city from a n e w p e r s p e c -

patterns and inserts that m o r p h as one a p p r o a c h e s the river,

tive and c o u l d see h o w the bridge c o n n e c t e d the city both

n e w b u s shelters, barge artifacts s t a c k e d in t o t e m i c m o d e ,

f u n c t i o n a l l y a n d s y m b o l i c a l l y . F r o m this v i e w p o i n t , o v e r

i m m e n s e arcs of water s p a n n i n g the river. N u m e r o u s ideas

t h e r i v e r in t h e heart of N a s h v i l l e ' s greatest o p e n s p a c e ,

w e r e shared that w o u l d create p u b l i c art as urban design, as

participants w e r e again asked, " H o w d o e s the art program

investigations of cultural and e c o l o g i c a l p l a c e - m a k i n g , w h i l e

support the Plan and h o w d o e s the Plan create p u b l i c art

creating u n i q u e icons d e s c r i p t i v e of the C u m b e r l a n d River,

opportunities?"

the bridge, and one of N a s h v i l l e ' s greatest p u b l i c places.

W o r k s h o p teams then reassembled at the N a s h v i l l e Design Center, w h e r e they sketched public art ideas specific

JACK M A C K I E is a practicing

to the bridge and surrounding areas. T h e y w e r e encouraged

Washington,

to consider using industrial artifacts left from the demolition

OPPOSITE PAGE ABOVE: Nashville downtown skyline.

OPPOSITE PAGE BELOW: Red Grooms's Tennessee Fox Trot Csrousel \s one of Nashville's signature works of public art.

ABOVE: "Finding Inspiration for Public Art" an all-day workshop on June 28,2003. As a follow-up to the first workshop, this one focused on one general site and gave artists and other design professionals tools for researching and evaluating potential sites for public art projects and using those findings as inspiration for public art. Participants heard the history of the Shelby Street pedestrian bridge area, explored various sites on the east and west sides of the Shelby Bridge, and went to the Nashville Civic Design Center for charette exercises.

BELOW: "Envision Public Art in the Plan of Nashville," an all-day workshop on April 26, 2003. Workshop teams, including artists, architects, landscape architects, planners, other design professionals, and community representatives, engaged in a series of exercises aimed at assessing sites identified as potentials for for public art.

"iiiH

fci.J

public

and a Public Art R e v i e w

artist

living

advisor.

in

Seattle,

4 Tacoma The Dynamics of Temporary JUDY W A G O N F E L D

i M 1 1 i-i i i -

"Art for art's sake is a philosophy

of the

well-fed."

ten language referred specifically to temporary art as something n e e d e d to enrich the quality of life. In 1992, T A C com-

- F r a n k Lloyd W r i g h t

mitted

$35,000 a y e a r to o p e n a n d run the

nonprofit

C o m m e n c e m e n t Art Gallery, S l i d e Registry, and Public Art Resource B a n k — c o m m i t t e d to local emerging or underexhibW h e n p l a n n i n g p u b l i c art, authorities might w e l l heed Wright's words, or they m a y meet their Waterloo.

The city of Tacoma, Washington, learned this lesson the hard way. In 1984, a city art c o m m i t t e e selected neon

ited local artists. T h e effort e x p a n d e d to i n c l u d e a series of rotating exhibits entitled Window lations

Dressing:

Urban Art

Instal-

in an a b a n d o n e d Woolworth's, as w e l l as the estab-

lishment of an outdoor v i d e o gallery.

art by Stephen A n t o n a k a s for Tacoma's n e w d o m e d stadium.

A l t h o u g h the city's percent-for-arts o r d i n a n c e w a s ten years

ART AND ARTIST SUPPORT

old. this first major c o m m i s s i o n triggered the Great N e o n Art

T a c o m a ' s 2003-04 b i e n n i a l b u d g e t w a s $367,000.

War. Outraged residents in this b l u e - c o l l a r rail-and-timber

Of this, Arts Projects r e c e i v e d $95,000, and the Artists Ini-

t o w n balked at the $250,000 price tag and at w h a t they per-

tiative Program d i v i d e d $25,000 a m o n g t w e n t y artists w h o

c e i v e d as the " w e k n o w w h a t ' s right a n d it's a N e w Y o r k

w a n t e d to create projects w i t h a p u b l i c c o m p o n e n t . O n e of

artist" juror attitudes. In a special referendum, residents tor-

these, a d o c u m e n t a r y v i d e o about an 80-year-old local jazz

p e d o e d the o r d i n a n c e , g i v i n g T a c o m a the d u b i o u s distinc-

legend, w a s s h o w n in various v e n u e s i n c l u d i n g the Wash-

tion

as

the

only

city

ever

to

repeal

percent-for-arts

ington

State

History

Museum.

The

remaining

budget

legislation. Culture bottomed out in Tacoma. Turning the tide

assisted major arts organizations in a variety of endeavors,

required diplomatic patience and precise planning.

m a n y of a temporary nature.

TEMPORARY ART BEGINNINGS

INSTALLATIONS AND EXHIBITS

T h e bad n e w s first: It took seventeen years to reinstate percent-for-arts legislation. T h e good n e w s : T h e funding void fostered a positive p h i l o s o p h y toward temporary art and helped establish public-private partnerships. A l t h o u g h devastated by their loss, the s c o r n e d art c o m m u n i t y s w a l -

Donating its d o m e and f l o o d i n g the floor w i t h ice for a 1 9 9 3 free e x h i b i t by T a c o m a n a t i v e D a l e C h i h u l y p r o v e d r e v o l u t i o n a r y for T a c o m a ' s arts efforts. P l a y i n g on the past a n d p o i n t i n g to the f u t u r e , C h i h u l y ' s 100,000 Pounds of Neon and Ice c l e v e r l y celebrated the d o m e ' s tenth

J § s g «

l o w e d their pride. Instead of pontificating on " g o o d p u b l i c art," a d m i n i s t r a t o r s c o u r t e d n e i g h b o r h o o d c o u n c i l s a n d communities, listening to their concerns, needs, and desires.

a n n i v e r s a r y . O v e r s e v e r a l d a y s , it d r e w 35,000 p e o p l e .

A c c o r d i n g to M i c h a e l S u l l i v a n , T a c o m a ' s f o r m e r c u l t u r a l

| =

resource manager, "it s l e w the artistic b o g e y m a n that had c r i p p l e d the city's cultural i n i t i a t i v e . " 1 T h e " w o w factor" a l l o w e d p e o p l e to see n e o n as art.

T h i s and o t h e r e v e n t s w h i t e n e d art's b l a c k e y e .

° I | 1

A c c o r d i n g to Debbie G r e e n w o o d , former Tacoma Arts C o m mission (TAC) president, resistance w a s high because p e o p l e had felt e x c l u d e d before. "It took a lot of c o n v i n c i n g to s h o w

f

i

them that art is not something just for the w e a l t h y , " Greenw o o d said. To gain credence, the city put m o n e y w h e r e their mouth was, f u n d i n g neighborhood and ethnic festivals and

S o u n d artists w i r e d and " t u n e d " an a b a n d o n e d m u n i c i p a l

j

d o c k b u i l d i n g , d r a w i n g 1000 p e o p l e to the p e r f o r m a n c e .

|

performance art. Former city Art Director Dorothy M c Q u i s tion planned "friendly art stuff" for kids and a s u m m e r con-

Artist S t e p h a n i e Reilly's historic v i d e o paid g l o w i n g tribute

g

to a w o o d mill's p r o d u c t i v e era and death by fire before the

|

site b e c a m e a park. Iole A l e s s a n d r i n i ' s 700 by 100-foot

|

cert s e r i e s — n o t h i n g to raise h a c k l e s . Grants to first-time c o m m u n i t y a p p l i c a n t s s t i m u l a t e d grass-roots efforts that e x p a n d e d a Lunar N e w Year celebration to all A s i a n c o m m u -

cast a red g l o w a c r o s s t h e r u i n s of t w o

i

deserted d o w n t o w n b l o c k s and t w o c o n s t r u c t e d reflecting

f

Season

of Light

nities, s u p p o r t e d a y o u t h V i e t n a m e s e dragon d a n c e team, and enabled a P u y a l l u p Tribe children's group to study v i d e o

pools. In the color of b l o o d , it r e v i v e d the site, h o n o r i n g its

|

c r u m b l i n g ghosts. Like a c a m p f i r e it w a r m e d the city's spirit.

J

and tape elders' stories for a violence prevention program. A program called S i m p l y S y m p h o n i c taught youngsters about

MULTIDISCIPLINARY EVENTS

diverse music. A Playwright Festival group produced twentyeight first-time works by local writers and used 1 5 9 actors.

Grants from the city leveraged donations from not-

§

for-profit and for-profit organizations, cultivating c o m m u n i t y

f

spirit. R e c r u i t i n g c o s p o n s o r s e n a b l e d the city to p r o d u c e

I

1

f

Temporary art b e c a m e the glossy advertisement for a future percent initiative, but it also took on a life of its o w n .

Beginning in 1 9 9 1 , Tacoma's renaissance proposals and later

glossy marketing flyers that m a p multilocational events s u c h

j

as Metal-Urge, a juried s h o w of metal w o r k s that appeared in

\

a d o z e n settings. Art at Work lured p e o p l e to artists' studios

J

c o m p r e h e n s i v e plans relied h e a v i l y on art and culture. Writ-

and w o r k s h o p s for demonstrations, talks, and art s a l e s — p o r -

5

traying artists as real w o r k i n g p e o p l e m a k i n g art that is not

ated doors, s y m b o l i z i n g entries, to install t e m p o r a r i l y in the

just for the w e a l t h y . L u m i n o C i t y , an art w a l k on steroids,

city's t w e l v e

s h o w c a s e d v i s u a l art, poetry, m u s i c , a n d p e r f o r m a n c e s in

public-private partnership, a gallery exhibit preceded the

d o w n t o w n retail a n d art e s t a b l i s h m e n t s . Start-up d o l l a r s

i n s t a l l a t i o n , and s e v e r a l d o o r s w e r e p u r c h a s e d as p e r m a -

assisted the Red Door project, T a c o m a ' s

nent p u b l i c art.

artist-driven

t h e w a y for a 2004 m u l t i d i s c i p l i n a r y Ephemera.

OPPOSITE PAGE ABOVE: Tacoma skyline.

ABOVE: John Runnels, Clime Musi Bo, Woolworth's window installation, 2004.

BELOW: Dale Chihuly, 100,000 Pounds ot Neon mi Ice, 1993.

districts. Through

a

A c c e p t a n c e of f o c u s e d events s u c h as these p a v e d

a n s w e r to the c o w s , pigs, and c a r t o o n characters in other cities. A s s i s t e d by the n e i g h b o r h o o d c o u n c i l s , artists cre-

designated business

project,

Scattered

T h e b r o a d e s t p r o j e c t to date, it w a s b u i l t o n

extensive c o m m u n i c a t i o n w i t h T a c o m a n s and e v o l v e d as an arts extravaganza of four w i n d o w installations, a s i d e w a l k painting, youth w o r k s h o p . Farmer's Market action piece, theater p e r f o r m a n c e b y A n d r e i C o d r e s c u , radio broadcasts,

21

a n d an a u d i t o r y o v e r l a y of oral h i s t o r i e s . A

supportive

s p e e c h by the m a y o r and broad n e w s coverage boosted pub-

and w i t h o u t n e e d i n g one-percent approval. Even if uproar occurs, he says, it is short-lived.

lic art's stock. A s N e w s T r i b u n e w r i t e r Jen G r a v e s w r o t e ,

Temporary projects also assemble people. T h o u g h a

is proof of the p o w e r and seriousness

storm destroyed Season of Light t w o w e e k s before its sched-

of [the artists'] ideas, and of their c o m m i t m e n t to public, con-

uled end, it forged a bond a m o n g 1 7 0 volunteer helpers w h o

"Scattered

Ephemera

temporary art in T a c o m a . " 2

called themselves the "Light Brigade." T h e city's $3,500 con-

P r o v i n g that p e o p l e n o t i c e d the e x h i b i t , contro-

tribution jump-started organizational, foundation, and busi-

versy arose over artist John Runnels's W o o l w o r t h ' s w i n d o w

ness d o n a t i o n s : $30,000 in c a s h a n d $200,000 of i n - k i n d

installation, Chinese

supplies and labor.

Must

Go. Featuring flashing neon signs

of p r e j u d i c i a l c o m m e n t s a n d l a u n d e r e d shirts representing

T h o u g h p e r m a n e n t art stays put, its i m p a c t m a y

the T a c o m a city fathers and 270 C h i n e s e they e x p e l l e d , the

w e a r off. A s T a c o m a A r t s A d m i n i s t r a t o r A m y

installation i l l u m i n a t e d a blot in Tacoma's past w h i l e juxta-

says, " W h e n [temporary art] g o e s a w a y , p e o p l e r e c o g n i z e

McBride

p o s i n g p r e j u d i c e and the notion of W o o l w o r t h ' s as a symbol

its p r e s e n c e and a b s e n c e . T h e y m i s s it and w a n t m o r e . " In

of integration. Q u i c k l y a d d e d explanatory signs calmed citi-

an NPR i n t e r v i e w , artist N a n C u r t i s e c h o e d M c B r i d e , not-

z e n s w h o h a d c o n s i d e r e d the p i e c e derogatory.

ing that "part of the art of t e m p o r a r y i n s t a l l a t i o n is w h e n

T h e R u n n e l s e x h i b i t s e r v e d as w a k e - u p call for

it's r e m o v e d . " 3 Its b l o o d p u l s e s s t r o n g a n d t h e n f a d e s

p l a n n i n g a n d a d a p t a b i l i t y , factors a p p l i c a b l e to T a c o m a ' s

e p h e m e r a l l y , m u c h as the w o r k of A n d y G o l d s w o r t h y and

First N i g h t 2005 N e w Year's c e l e b r a t i o n . For Figure

of life itself.

Head

Roll, artists cast 1000 h e a d s of n e w s w o r t h y locals as a rolling send-off to the past year. But instead of w a t c h i n g the heads

LESSONS

roll d o w n h i l l , revelers surged like kids on an Easter egg hunt,

Successful

public

art

requires

public

input,

grabbing heads in a near riot. Organizers scurried to escape

d y n a m i c energy, engaging approaches. It needs diverse and

the fray. From their point of v i e w , the event w a s disaster. A s

changing audiences. It s h o u l d elicit thought and conversation

far as the revelers w e r e c o n c e r n e d , it w a s sublime.

and should leave v i e w e r s w i t h resonating memories. M c B r i d e

T h i s d i s c r e p a n c y illuminates the essence of tempo-

emphasizes that getting temporary art projects to fly requires

rary p u b l i c art. A t best, it is experimental, avant-garde, and

c o m m u n i c a t i o n s k i l l s and c o m p r o m i s e . P r o p o n e n t s m u s t

interactive. A t worst, it is ignored. From the standpoint of

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

i n t e r a c t i v i t y , Figure

i n v o l v e the c o m m u n i t y and enhance the quality of life.

flaunted

Head

Roll

was triumphant.

People

prizes, savoring an e v e n i n g they w i l l not forget. T h e

A variety

of l o c a l

leaders suggest

starting

at

e x p e r i e n c e c a n b e s e e n as a m e t a p h o r for T a c o m a , a city

ground level. M e e t w i t h c o m m u n i t y c o u n c i l s and organiza-

s t e e p e d in events gone astray but ready to try again.

tions, g a t h e r i n g i d e a s and f o r m i n g r e l a t i o n s h i p s . Tie prop o s a l s into local heritage and history. C l a r i f y benefits s u c h

DYNAMICS OF TEMPORARY ART

as r e c o g n i t i o n , c a m a r a d e r i e , p u b l i c i t y , m o n e y , a n d artist

A strong p r o p o n e n t of t e m p o r a r y art, local artist

training. B u i l d a n d broaden art c o m m u n i t i e s via the Inter-

Jared P a p p a s - K e l l y has b e e n i n s t r u m e n t a l in o r g a n i z i n g

net, talks, and gatherings. W h e n p l a n n i n g , forge f r i e n d s h i p s

e x h i b i t s and groups that receive city money. He and his col-

w i t h those in charge of streets, utilities, and b u s i n e s s e s near

laborators stretch the c o n c e p t in Toby Room, a sporadic, free

the p r o p o s e d site. K n o w their rules to a v o i d b u r e a u c r a t i c

arts n e w s p a p e r . P a p p a s - K e l l y likes temporary work because

r o a d b l o c k s . A s k for a d v i c e , t h a n k the a d v i c e g i v e r s , a n d

it can b e edgier, activist, and delivered on a short t i m e l i n e —

invite them to the exhibit.

W i t h artists, M c B r i d e stresses s p e c i f i c i t y . D e v i s e g u i d e l i n e s a l l o w i n g for c r e a t i v e f l e x i b i l i t y , but l i m i t the length of the leash. M c B r i d e cringes w h e n r e m e m b e r i n g a Tacoma artist exhibit at Sea-Tac Airport. Just before installation, one artist a d d e d a ceramic box cutter to the piece, infuriating airport administrators, w h o refused the w o r k .

Finally, M c B r i d e warns, " s o m e t h i n g is not a l w a y s better than nothing." Careful p l a n n i n g and c o m m u n i c a t i o n m i g h t p r e v e n t a v e r s i o n of T a c o m a ' s n e o n d e b a c l e . But if Tacoma can create a temporary art legacy after that experience, any city can do the same.

JUDY W A G O N F E L D reviews gencer. Her articles have appeared

art for the Seattle Post-Intellin-

on art, travel,

in diverse

food

publications.

and other

subjects

She can be

reached

at j u d y w a g o n f e l d @ m s n . c o m .

LEFT: Tollioolh, video and art kiosk.

OPPOSITE PAGE: Scattered Ephemera, sidewalk poem installation.

NOTIS: 1. Skip Card, 'Turning Points," (Tacoma) News Tribune, 23 June 2002, sec. A, p. 8.

2. Jen C r a v e s , " H o w did w e get from Woolworth's to Wal-Mart?" (Tacoma) News Tribune, 7 July 2004, sec. D, p. 3.

3. Nan Curtis, "Profile: Public Artwork in Portland, O r e g o n , " All Things Considered, National Public Radio, 12 D e c e m b e r 2000.

when

Museums Go Public

GREGG NARBER

T h e broad i n c l u s i v e n e s s and s o m e t i m e s grand scale of today's art m a k i n g — f r o m v i d e o , to s o u n d , to performance, to w h a t m i g h t o n c e h a v e b e e n termed l a n d s c a p e architect u r e — i m p e l s art m u s e u m s to w r e s t l e w i t h h o w and w h e r e to present m u c h current w o r k . Resorting to p u b l i c s p a c e can p r o v i d e a s o l u t i o n but one that m a y put m u s e u m s in conflict w i t h s o m e of the a u d i e n c e s they seek to serve. T h e travails of o n e s u c h m u s e u m , the Des M o i n e s Art Center (DMAC), as it sought to d e v e l o p a s c u l p t u r e park in adjacent public park s p a c e ten years ago, are illustrative of the challenges facing other m u s e u m s . T h o u g h D M A C ' s experience m a y be read as a c a u t i o n a r y tale, it is a story w i t h a h a p p y ending, for in recent years Des M o i n e s has created a public art c o m m i s s i o n and f o u n d a t i o n d e d i c a t e d to p l a c i n g public art throughout the city.

In the initial phases, D M A C ' s sculpture park w a s a c o m m u n i t y relations disaster. A l t h o u g h d i s c u s s e d for o v e r t w o years w i t h i n the m u s e u m family, the f u l l - b l o w n c o n c e p t of the s c u l p t u r e p a r k — n i n e or more "environmental sculptures," f u n d e d in part by a grant from the National E n d o w ment

for the Arts, spread

over t w e n t y - s e v e n

acres

of

m u c h - u s e d G r e e n w o o d Park, w h e r e the D M A C is s i t e d — w e r e sprung on the public essentially w i t h o u t warning. In a c o m m u n i t y in w h i c h m a n y a p p r o a c h e d c o n t e m p o r a r y art w i t h a my-child-could-do-that attitude, worst fears w e r e conf i r m e d w i t h the first p l a c e m e n t : Richard Serra's Stones

Standing

(1989). Serra's s i x a r t f u l l y p l a c e d b l o c k s of stone,

p l a c e d in just the form t h e y c a m e f r o m the quarry, w e r e i n c o m p r e h e n s i b l e to m a n y locals.

At that time, the D M A C reversed its long-standing free admission policy and put an a d m i s s i o n charge in place.

F o r s o m e c o m m u n i t y m e m b e r s , this s e e m e d to be a d d i n g insult to injury, though it w a s probably more a matter of illconsidered timing. In any case, m a n y p e o p l e rose up in o p p o s i t i o n to even the idea of the sculpture park. Public meetings were convened;

petitions

circulated; environmental, archeological,

and

historical

impact

w i t h a Barbara Kruger mural on a w a l l of a temporary facility that faced Los A n g e l e s ' s Little T o k y o neighborhood. T h o u g h hardly intended by the artist, the mural's U.S. flag motif and its text r e m i n d e d m a n y of Little Tokyo's Japanese A m e r i c a n s of their d e m e a n i n g World War II internment e x p e r i e n c e and aspersions on their loyalty to the United States. 5 O p p o s i t i o n to the mural w a s c a l m e d by some modification of the text, dialogue w i t h Little Tokyo's spokespersons, and assurances that the mural w o u l d be "temporary."

Several m u s e u m stratagems, i n c l u d i n g c o m m u n i cating w i t h affected c o m m u n i t i e s and d i s a v o w i n g intentions of permanent placement, emerge from c o m p a r i n g L A MoCa's e x p e r i e n c e w i t h that of D M A C and other m u s e u m s .

STRATAGEM; D o w n p l a y permanence. A s in the L A M o C A e x a m p l e , m u s e u m s have learned to avoid describing their p u b l i c art p r o j e c t s as " p e r m a n e n t . " T h e Des M o i n e s C i t y C o u n c i l granted D M A C a f o r t y - n i n e - y e a r r e n e w a b l e o p e r a t i n g a g r e e m e n t for the t w e n t y - s e v e n - a c r e p o r t i o n of G r e e n w o o d Park. T h e Seattle Art M u s e u m , in c o n n e c t i o n w i t h d e v e l o p i n g its O l y m p i c S c u l p t u r e Park, is negotiating a similar lease a n d operating agreement w i t h Seattle for the s l i v e r of w a t e r f r o n t land at the e d g e of w h a t w i l l be the sculpture park, one e x p e c t e d to i n v o l v e r e n e w a b l e terms of fifty years. T h e nearly five acres (out of 1,500 acres) of City Park o c c u p i e d by the S y d n e y and Walda Besthoff Sculpture Garden of the N e w Orleans M u s e u m of Art is leased to the m u s e u m for ninety-nine years. S u c h leases blunt public criti c i s m that p u b l i c l a n d is b e i n g " g i v e n a w a y " to p r i v a t e LEFT: Richard Serra, Standing Stones, 1989.

BELOW: The Sydney and Walda Besthoff Sculpture Garden, City Park, 2004.

suits both filed and threatened. d e b a c l e , it w a s , happily, one that it both weathered and w e n t to s c h o o l o n — l e a r n i n g , for e x a m p l e , the v a l u e of establishing early and constant c o m m u n i c a t i o n and building c o m m u n i t y c o a l i t i o n s to s u p p o r t its projects. Mary Miss's

Greenwood

( 1 9 8 9 - 1 9 9 6 ) , for e x a m p l e , i n v o l v e d a

c o a l i t i o n of the Des M o i n e s Garden C l u b and n u m e r o u s conservation g r o u p s that rallied in support of the project as it e v o l v e d from an artist's intervention in the park's landscape to a p r o j e c t that both restored the park's lagoon and intedemonstration

A s Erika Doss noted, the Los A n g e l e s M u s e u m of C o n t e m p o rary Art (LA M o C A ) ran into similar c o m m u n i t y opposition

cil meetings p a c k e d w i t h o p p o n e n t s ;

If the D M A C ' s o p e n i n g foray into public art w a s a

grated

that of his w a l l builders w i t h e v e r y o n e w h o d r o p p e d by the site, w e l l - a t t e n d e d artist lectures a n d s c r e e n i n g s of a f i l m about his w o r k — a l l p r o v i d e d stark contrast to an uglier past.

studies

page of the local p a p e r written; l a w -

Site

K r i s p y K r e m e d o n u t s to the site (it turns out W e l s h w a l l builders love them), G o l d s w o r t h y ' s constant interaction and

d e m a n d e d ; park board and city counletters to the N E A a n d the editorial

Pond-Double

In contrast to the early stumbles, G o l d s w o r t h y ' s Three Cairns (2002) proved a veritable love fest among the engaging artist, his crew, and the p e o p l e of Des Moines. A constant flow of

w e t l a n d s p l a n t e d by t h o s e

allied

groups.

S e v e r a l i n s t a l l a t i o n s p l a n n e d for the park w e r e e v e n t u a l l y a b a n d o n e d , but a r e c e n t A n d y

Goldsworthy

installation c o n t i n u e s the d e v e l o p m e n t of the sculpture park.

i t — i n t o a place w h e r e s o m e t h i n g interesting and inviting is

ABOVE: Sam Auinger, Harmonic Bridge, 1998.

going on, a "resonating sonic g a t e w a y " 2 w h e r e city and traf-

BELOW: Christina Kubisch, ClochtomProject, 1997.

fic s o u n d s from the v i a d u c t a b o v e are transformed electronic a l l y and transmitted as c a l m i n g s o u n d s t h r o u g h c o n c r e t e

e n t i t i e s — a n d , not incidentally, they finesse legal difficulties that might attend absolute c o n v e y a n c e of public land. Most important, they p r o v i d e c o n c e r n e d p u b l i c s assurance that a sculpture park is not forever.

A n extreme e x a m p l e is the a p p r o a c h taken by the Massachusetts

Museum

of

Contemporary

Art

(MASS

M o C A ) . Three of its " s o u n d art" installations (they all prod u c e m u s i c or sound) are in public spaces: a h i g h w a y underpass, the c l o c k tower of an a b a n d o n e d factory, an a b a n d o n e d marble quarry in Natural Bridge State Park. A l t h o u g h M A S S M o C A enters into r e n e w a b l e a g r e e m e n t s as short as three m o n t h s , all these installations h a v e n o w been in p l a c e for years. O b v i o u s l y , " t e m p o r a r y " can b e c o m e long-term or "perm a n e n t " as p e o p l e get a c c u s t o m e d to, perhaps even learn to like, particular artworks. A s s u r a n c e s that a suspect or feared object w i l l not be permanent creates space and time for this transition to occur.

art. D M A C kept its sculpture garden proposal u n d e r w r a p s for t w o years, not to be sneaky but so as not to spoil the surprise. A c t u a t e d by a sincere belief that art is self-evidently good for people, D M A C seems to h a v e naively e x p e c t e d the Des M o i n e s public to receive this "gift" w i t h gushing gratitude. In truth, w h e n it c o m e s to art there are more Philistines than c o n v e r t s — a n d not just in Des M o i n e s . E v e n the park board's v a g u e initial s y m p a t h y

for D M A C ' s e v e n

more

vaguely described sculpture park rose out of a h o p e that people looking at sculpture might d i s p l a c e r o w d y teenagers w h o had m a d e popular G r e e n w o o d Park s o m e w h a t threatening to families in the evening. A l l i e s that emerged for Mary Miss's Pond-Double

Project

Site

c a m e on b o a r d to s a v e a

lagoon that had b e c o m e a stagnant p o n d , restore its banks, and create a shelter for ice skaters—in the process creating a w e t l a n d s demonstration project of interest to c o n s e r v a t i o n groups and the nearby S c i e n c e Center. A l m o s t e v e r y t h i n g but art motivated D M A C ' s allies.

Bruce O d l a n d and S a m A u i n g e r ' s Harmonic

Bridge

(1998), a M A S S M o C A sound installation u n d e r the Route 2 o v e r p a s s , l i k e w i s e brought s o m e t h i n g to the table b e s i d e s aesthetics. It transformed a threatening s p a c e — t h e passage from d o w n t o w n North A d a m s to the m u s e u m is by w a y of this u n d e r p a s s , a " o n c e i m p o s i n g barrier b e t w e e n

Main

Street and the m u s e u m , " as the m u s e u m ' s w e b s i t e describes

(1997)

i n t e n t i o n a l l y e v o k e s a n i n e t y - y e a r p e r i o d w h e n the c l o c k tower's c h i m e s marked the days for North A d a m s residents, not i n c i d e n t a l l y suggesting jobs at an operating factory and happier e c o n o m i c times. A little-used area in nearby Natural Bridge State Park has b e c o m e a destination, at least during the fifteen minutes per day that Walter F a h n d i c h ' s Music a Quarry

for

(1999) p l a y s soft tones over ten speakers.

T h e S y d n e y and Walda Besthoff S c u l p t u r e Garden

put a neglected five-acre portion of 1,500-acre N e w O r l e a n s City Park back into active use. It p r o v i d e s an attractive destin a t i o n for tourists a n d l o c a l s at t h e t e r m i n u s of a n e w l y restored streetcar line. Seattle's recently a n n o u n c e d O l y m p i c S c u l p t u r e Park w i l l o c c u p y the waterfront site of a former U N O C A L diesel fuel distribution facility, w h i c h had b e e n subjected to years of p o l l u t i o n remediation. M a n y d e v e l o p ers bid on the c l e a n e d - u p , s p l e n d i d l y located property. T h e r e is c e r t a i n l y n o hint that the S e a t t l e Art M u s e u m

STRATAGEM: Provide a public benefit other than the

Greenwood

s p e a k e r s . C h r i s t i n a K u b i s c h ' s Clocktower

(SAM)

25

26

entered a n y t h i n g l e s s than a fair a n d c o m p e t i t i v e bid, but t w o t h i n g s l i k e l y t i p p e d the b i d d i n g p r o c e s s S A M ' s w a y .

First, city g o v e r n m e n t s u p p o r t e d S A M ' s bid based on the

troversy is to suggest to those e n j o y i n g the site that they are

c i t y ' s interest in i m p r o v i n g a c c e s s to a fairly i n a c c e s s i b l e adjacent p u b l i c park, and in creating a n e w cultural attrac-

attempt to c o n c e a l the fact that a m u s e u m is c o m m i s s i o n i n g

in the presence of a w o r k of art.

T h e term stealth art s h o u l d not be construed as an something it defines as art. Rather, the term suggests accept-

tion near Seattle's t h r i v i n g d o w n t o w n on w h a t had been a b r o w n f i e l d . ( T h e c i t y has b e e n m u c h m o r e than a cheerleader: It is a $4 m i l l i o n partner in the project.) Second, from

on its prospective audience. It may be sufficient to have par-

t h e s e l l e r ' s p o i n t of v i e w , a s c u l p t u r e park m a y be m o r e attractive than, say, high density h o u s i n g (think Love Canal).

and placing a w o r k and of p r o v i d i n g the c o m m u n i t y w i t h an

T h u s , m a n y benefits, n o n e directly related to the nature or quality of the art that w i l l one day be p l a c e d there, inhere to the O l y m p i c S c u l p t u r e Park.

to c o n v i n c e most Des M o i n e s residents that the n e w Green-

STRATAGEM: E m b r a c e stealth art. A l t h o u g h certainly not the case w i t h the Besthoff Sculpture G a r d e n — a n y one w o u l d r e c o g n i z e its fifty-four pieces as " a r t " — a thread c o m m o n to s u c c e s s f u l extensions of m u s e u m s b e y o n d their w a l l s is a p u b l i c often u n a w a r e it is in the presence of somet h i n g i n t e n d e d as art. T h e fact is that labeling s o m e t h i n g " a r t " intimidates and distances many people, w h o believe art is for elites, not them. For e x a m p l e , Hartford's Wadsworth A t h e n e u m i n f l u e n c e d the c h o i c e of Carl A n d r e for a 1 9 7 6 p u b l i c art c o m m i s s i o n for Hartford: A n d r e ' s Stone Field Sculpture, c o m p r i s i n g thirty-six glacial boulders arranged in eight r o w s on a roughly triangular space in Hartford's d o w n t o w n . C r i t i c i z e d for its $100,000 p r i c e tag and u n w o r k e d materials, the s c u l p t u r e w a s controversial in Hartford (and to s o m e extent nationally) in 1 9 7 7 , the brunt of hostile newsp a p e r e d i t o r i a l s , a n d e v e n " a n i s s u e in the 1 9 7 7 m a y o r a l campaign."- 3 Nearly thirty years later, c o m m u n i t y members are c o m f o r t a b l e w i t h Stone

Field

Sculpture,

a c c o r d i n g to

W a d s w o r t h A t h e n e u m Director Willard Holmes. T h e boulders p r o v i d e perches locals love to sit on and surfaces they are h a p p y to lean against to r e l a x . N o n e t h e l e s s , H o l m e s a d v i s e s , a sure w a y to r e v i v e the long-buried public art con-

ing that it is not necessary to impose the "art-ness" of a work ticipated in the culture-making e x p e r i e n c e of c o m m i s s i o n i n g aesthetic experience. For e x a m p l e , it may never be possible w o o d Park lagoon ice skating shelter and w o o d e n w a l k w a y are " w o r k s of art," m u c h as f e w visitors to the Getty m a y recognize its beautiful gardens for w h a t they signify to Robert Irwin: his art. M u c h of Des M o i n e s is a l l o w e d to l o v e the Mary Miss w o r k for itself w i t h o u t ever h a v i n g to deal w i t h it as art. Similar notions are operative for M A S S M o C A ' s sound installations; for m a n y p e o p l e , it s e e m s s u f f i c i e n t that the u n d e r p a s s is a f r i e n d l i e r p l a c e to traverse. T h e O l y m p i c Sculpture Park is likely to generate m i x e d reactions. T h e r e w i l l be little c o n f u s i o n that Richard Serra's seventy-five-foot steel Wake (2003) is art. Ditto for a n n o u n c e d gifts of a Calder stabile and a Mark Di S u v e r o sculpture. O n the other hand, Teresita Fernandez's Seattle

Cloud

Cover w i l l read to m a n y

as s i m p l y a b e a u t i f u l g l a s s b r i d g e , not n e c e s s a r i l y as art, w h i l e some w i l l a p p r o a c h Mark Dion's Seattle

Vivarium

as

an ecology demonstration. Not seeing the harm in all this is w h a t makes it a stratagem.

STRATAGEM: P r a c t i c e t r a n s p a r e n c y ,

communica-

tion, and sensitivity. If D M A C ' s e x p e r i e n c e belies the adage that " e v e r y o n e loves surprises," the m u s e u m clearly learned by the time it broached the A n d y G o l d s w o r t h y project that there is almost no limit to the v a l u e of lots of information, lots of meetings, and lots of public interaction w i t h the artist.

The famous respect G o l d s w o r t h y s h o w s for nature disarmed even the Friends of G r e e n w o o d Park, a group that formerly sought to derail the sculpture park in defense of the park's nature. T h e s e same lessons w e r e learned by the Temporary Contemporary in Los A n g e l e s from its interactions w i t h the Little T o k y o public.

S A M has been i n v o l v e d in scores of p u b l i c meetings in all parts of Seattle since formulating its initial plans for the O l y m p i c S c u l p t u r e Park. T h e i r architectural program for the s c u l p t u r e park reflects substantial input from those meetings, p a r t i c u l a r l y p l e a s from near n e i g h b o r s for g o o d access, w h i c h they lack to the p u b l i c park O S P w i l l abut.

S A M ' s activities are a textbook e x a m p l e of doing public art right and well. That said, the most c h a r m i n g e x a m p l e of lis-

ABOVE: The Sydney and Walda Besthoff Sculpture Garden, City Park, 2004.

BELOW: Andy Goldsworthy, Three Cairns, 2002.

ABOVE and BELOW: Mary Miss, Greenwood Pond-Double Site, 1989-1996, mixed media: wood,

Following

a law career,

date in U.S. cultural

galvanized steel, cement, and granite.

t e n i n g a n d s e n s i t i v i t y r e t u r n s u s to t h e East C o a s t . H o w e v e r

where

he teaches

former

president

has also served

m u c h t h e R o u t e 2 u n d e r p a s s l e a d i n g to M A S S M o C A

has

Committee.

b e e n r e n d e r e d f r i e n d l i e r by the p r e s e n c e of O d l a n d

and

Festival

A u i n g e r ' s Harmonic

Bridge,

and

G R E G G N A R B E R is a Ph.D.

history

at the University

as a graduate as trustee

and member

He is also on the boards Greater

Art

Des Moines

candi-

Iowa,

He is a

instructor.

of the Des Moines

of

Center, of the

where

he

Acquisition

of the Des Moines

Public

Art

Arts

Foundation.

that installation d i d generate

one interesting complaint. A n aging local priest indicated

T h e a u t h o r g r a t e f u l l y a c k n o w l e d g e s D M A C Director S u s a n L u b o w s k y

that t h e t o n e e m i t t e d b y Harmonic

T a l b o t a n d f o r m e r A c t i n g D i r e c t o r Peggy P a t r i c k , N e w

Bridge

d i s t u r b e d h i s after-

n o o n n a p . S o n o w , at 2 p . m . d a i l y , Harmonic

Orleans

shuts

M u s e u m of Art Director E. John B u l a r d , Seattle Art M u s e u m Director

d o w n f o r a n h o u r for F a t h e r A h e r n ' s n a p . M A S S M o C A n o t

M i m i Gates, W a d s w o r t h A t h e n e u m D i r e c t o r W i l l a r d H o l m e s , a n d

o n l y l i s t e n s b u t acts as the c o n s u m m a t e g o o d n e i g h b o r a

M A S S MoCA Director Joseph T h o m p s o n for their h e l p f u l observations.

Bridge

m u s e u m m u s t b e to s u c c e s s f u l l y e n g a g e in p u b l i c art.

NOTES: 1. Erika Doss, Spirit Poles and Flying Pigs (Washington, D.C.: Smithsonian Institution Press, 1995), 4-11, 237-49.

2. MASS MoCA website: www.massmoca.org/visual_arts/sound_art.html.

3. John Beardsley, Earthworks and Beyond: Contemporary Art in the Landscape (New York: Abbeville Press, 1984), 109.

QUESTIONS FOR CONSULTANTS ANN

KLEFSTAD

W H A T IS A PUBLIC ART CONSULTANT? M I N I M A L L Y , CONSULTANTS SERVE AS A LIAISON BETWEEN CLIENTS A N D ARTISTS. BUT THEY CAN ALSO A S S U M E A N EDUCATIONAL ROLE, HELPING CLIENTS U N D E R S T A N D THE FULL POTENTIAL FOR CREATIVE INFLECTION OF A SPACE A N D PLAN THE BEST POSSIBLE CONFLUENCE OF SPACE A N D A R T M A K I N G . T O EXPLORE THE ROLE THAT PUBLIC ART CONSULTANTS PLAY I N THE P L A N N I N G PROCESS, PUBLIC ART

REVIEW

SENT A LIST OF TEN Q U E S T I O N S TO T W E N T Y - F O U R CONSULTANTS F R O M A R O U N D THE COUNTRY. T H I S ARTICLE IS THE FRUIT OF THAT I N Q U I R Y .

Mayor

WHO ARE THESE PEOPLE? Most s u r v e y r e s p o n d e n t s are p r i v a t e c o n s u l t a n t s

28

Bob Corker

participate

invited

w h o d e v e l o p teams on a project-by-project basis. S o m e w o r k

did!

for private nonprofits. Consultants find w o r k through w o r d

dees, representing

of m o u t h and by a d v e r t i s i n g in journals like this o n e a n d

from

business

those of A m e r i c a n s for the Arts ( A F T A ) and the Public Art

hood

activists

to artists

N e t w o r k (PAN).

plan

received

consensus

C o n s u l t a n t s u s u a l l y charge from $80 to $150 per

Public

for-art

every Chattanoogan

in the planning—and workshops

attracted

every

part

program

was soon

and a local art agency (Allied

m u n i c i p a l i t i e s , p u b l i c libraries, transportation departments,

to manage

it. From

collection

of art in public

was appointed

ties w h o s e spaces are public. Mary D r e b l o w (Minneapolis)

lion

served as a p l a n n e r and c o n s u l t a n t for the M a y o C l i n i c in

artists,

Rochester, M i n n e s o t a , w h e n t h e y b u i l t their n e w G o n d a

waterfront

Building. S h e d e v e l o p e d an array of potential exhibit spaces

unveiled

and a c o l l e c t i o n of w o r k s to fill t h o s e s p a c e s .

May 2005—less

Dreblow

described her role in this process as different from a typical

their

seeded the new public in major selected

The percent-

A public

point

spaces,

art program with

project.

celebrations

staff

of a

small

Chattanooga with

by local

art

program,

Arts) committed

starting

to coincide

in public

atten-

neighbor-

to oversee the

commissions

renaissance

to

and a

enacted.

C l i e n t s m a y be g o v e r n m e n t or c o m m u n i t y entities: cities,

S o m e consultants h a v e also w o r k e d for private enti-

leaders

support,

all

community,

and schoolchildren.

committee

the National Park Service.

up to 500 of the

and community

hour. A typical public art plan costs from $20,000 to $80,000.

to

it seemed they

$1.2

and

the

community's

The artworks during

mil-

national

April

than two years after the plan

were and was

adopted.

p u b l i c art consultant, w h o usually f o l l o w s a different trajec-

T h i s k i n d of m o m e n t u m r e v e a l s a n o t h e r c o m p o -

tory of a c c o u n t a b i l i t y . Her efforts h e l p e d p r o d u c e a s p a c e

nent of a s u c c e s s f u l plan: a client that is o p e n to learning

that serves as a de facto art m u s e u m for the city of Rochester,

about art and its potential, and is directed e n o u g h to make

w h i c h promotes tours of the G o n d a B u i l d i n g collection as a

c l e a r d e c i s i o n s — a s G o l d m a n w r o t e of her c l i e n t for the

local attraction.

A u s t i n Central Park. Regina Flanagan (St. Paul, Minnesota)

P u b l i c art c o n s u l t a n t s r e s p o n s i b l e for m u n i c i p a l

noted that one n e e d s to understand a client's capabilities to

master p l a n s n e e d a variety of skills. A c c o r d i n g to Gail Gold-

ensure a plan's success: " M a k e sure the plan really ' t o u c h e s

m a n (San Diego), " P u b l i c art c o n s u l t a n t s w i t h s p e c i a l i z e d

the ground,' taking into a c c o u n t the g o v e r n m e n t a l and busi-

expertise in p l a n n i n g and p o l i c y d e v e l o p m e n t are the profes-

ness structures that i n f l u e n c e and control p u b l i c spaces. T h e

s i o n a l s qualified to c o n d u c t and prepare public art master

parties w i t h p o w e r a n d c o n t r o l m u s t be i n v o l v e d in the

plans. Contrary to w h a t others m a y think, corporate art cons u l t a n t s and curators are not q u a l i f i e d to do this k i n d of w o r k . " Marsha Moss, a p u b l i c art consultant in P h i l a d e l p h i a , described a p u b l i c art consultant as being " l i k e a juggler trying to keep a n u m b e r of balls in the air. Budgets, contracts, c o d e s , i s s u e s of safety a n d d u r a b i l i t y , a n d so m a n y other f o r c e s — f r o m a r c h i t e c t s , agents, a n d the g e n e r a l

public—

inevitably c o m e into play. Balancing t h e m all, and yet preserving

the

vision

of

the

artist,

remains

the

greatest

challenge."

WHAT MAKES A GOOD PLAN? In d e s c r i b i n g w h a t m a k e s a plan s u c c e s s f u l , consultants talk first about r e s p o n s i v e n e s s — t h e ability to perc e i v e w h a t a place and a c o m m u n i t y need, to defer or d e f u s e a s s u m p t i o n s , and to engage w i t h and learn from those w h o will use the site. Clark Worth of Barney and Worth in Portland, Oregon, argued for i n v o l v i n g the public users of a site from the beginning, and at a grass-roots level. He described his e x p e r i e n c e d e v e l o p i n g a master plan for Chattanooga:

p l a n n i n g and be backers of the public art program. T h e p l a n

a n d p l a n n i n g , streetscape, a n d infrastructure p r o j e c t s (the

s h o u l d be geared toward the capabilities of the administra-

r e d e v e l o p m e n t of State Street, in p a r t i c u l a r ) . " T h e i d e a is

tor or others w h o w i l l likely carry it out."

that this k i n d of transparent d o c u m e n t , d e v e l o p e d by all the

H o w might this process go w r o n g ? In m a n y w a y s ,

c i t i z e n s of t h e city, m a k e s it d i f f i c u l t for i n d i v i d u a l s to

as it turns out. A c o m m o n problem is w h e n those u l t i m a t e l y

h i j a c k the process and less l i k e l y that participants w i l l mis-

r e s p o n s i b l e for putting a plan into e f f e c t are not the s a m e

understand each other.

p e o p l e w h o h e l p e d d e v e l o p it. T h i s might result from staff t u r n o v e r or from c r o n y i s m — f r i e n d s of t h o s e in p o w e r are

WHAT HAPPENS WHEN PLANS CHANGE? G o o d c o n s u l t a n t s , r e s p o n d e n t s s a i d , are f l e x i b l e

brought in late in the g a m e and insist on being heard. S u c h threats c a n s o m e t i m e s be anticipated and c o u n t e r e d through

and

responsive.

careful g r o u n d w o r k before b e g i n n i n g the p l a n n i n g process.

m u s t be r e a d y to s e i z e

They

Flanagan, a believer in s u c h preparation, said that

opportunities and learn.

her " f o c u s is on d e v e l o p i n g s t u d i e s a n d f r a m e w o r k s or

P u b l i c art c o n s u l t i n g is

master plans that are the step prior to p o l i c i e s and proce-

not for the faint of heart;

dures. Each study, framework, or plan is u n i q u e to a specific

it m a y require mastering

city or t o w n . " Her favorite e x a m p l e of this is The Public

n e w r e a l m s of k n o w l -

Framework

and Field

Art

Guide for M a d i s o n , W i s c o n s i n , by the

edge.

Donna

Graves

Public Art Collaborative, of w h i c h she w a s a member. Flana-

(Berkeley) said, "I h a v e

gan described M a d i s o n as a "do-it-yourself, grassroots-ori-

c o m e to t h i n k of p l a n -

e n t e d " kind of t o w n , w h e r e "citizens d e m a n d a high level of

n i n g as s o m e t h i n g best

participation in g o v e r n m e n t and public process." T h e Public

a i d e d by a c o m b i n a t i o n

Art Collaborative thus d e v e l o p e d a " f r a m e w o r k " for M a d i s o n

of sharp eyesight a l l o w -

rather than a " p l a n . "

ing

Wrote Flanagan, " T h e F r a m e w o r k can be used by

you

to

see

what

combination

of

tools

SURVEY PARTICIPANTS Lynn Baer A R T IN PUBLIC PLACES

Jessica Cusick CUSICK CONSULTING

Mary Dreblow D R E B L O W FINE ART A S S O C I A T E S

Regina M. Flanagan Gail Goldman GAIL M . G O L D M A N ASSOCIATES

g o v e r n m e n t o f f i c i a l s a n d n e i g h b o r h o o d r e s i d e n t s a l i k e to

m a y lie i n y o u r p r o j e c t

Donna Graves

d e v e l o p p u b l i c art p r o j e c t s a n d c o m m i s s i o n artists. T h e

area, an o p e n m i n d and

Field G u i d e portion features case studies for actual locations

heart

Mark Johnstone

that e x e m p l i f y four different t y p e s of public space that hold

mouth),

potential for p u b l i c art: large parks; g a t e w a y projects (transi-

can

tion spaces that mark b o u n d a r i e s b e t w e e n n e i g h b o r h o o d s or

w h e n n e w l y interesting

precincts); n e i g h b o r h o o d gathering spots or small-scale sites

paths c o m e into v i e w . "

(and

participants.

OPPOSITE PAGE: Brower Hatcher, Brainstorm, 2001, for ADC Communications, Minneapolis, Minn.

feet

that

a

dime

on

T h e p u b l i c art selection

ABOVE: Public Art Workshop on January 13,2003 in Chattanooga, Tenn. drew up to 500

and

turn

(street corners, vacant lots, or other u n d e r d e v e l o p e d plots);

sometimes

panel

is

the

place where democracy dabbles

with

art

and

Helen Lessick Marsha Moss Jennifer Murphy CITIARTS

Cynthia Nikitin PROIECT FOR P U B L I C SPACES, INC.

pluralism putters w i t h

Clark Worth

c u r a t o r i a l p r a c t i c e . It's

BARNEY & W O R T H , INC.

also a key m e c h a n i s m in

o w n w o r k s . B e c a u s e of this, the A r b o r e t u m d i r e c t o r b e g a n A r t in the

Park.

She

organized

installations, Noh

art

performances,

and c l o t h e s l i n e e x h i b i t i o n s in the living landscape, funded through private c o n t r i b u t i o n s and government grants.

Lessick w a s able to create a w o r k that served as a framework for the artwork of others, through her willingness to give her ideas over to a group plan.

WHY PLAN? P l a n n i n g , in the t e s t i m o n y the p u b l i c art a d m i n i s t r a t o r ' s

repertoire. T h e

of

selection

these public art consultants, is key to several crucial aspects

process substantiates a p u b l i c art program. If that process is

of p u b l i c projects. First, they all testify that a good plan is

w e l l established and the selection panel meetings are facili-

necessary for practical and logistical reasons: so that clients

tated effectively, the results s h o u l d be gratifying.

k n o w w h a t is p h y s i c a l l y possible on their site, in their cli-

Graves s p e c i a l i z e s in d i v i n i n g the history of a site,

mate, w i t h i n their b u d g e t . A p l a n is n e c e s s a r y to p r e v e n t

the stories of w h a t h a p p e n e d there. Her ability to shift direc-

infighting among site users and site o w n e r s — a n d the waste

t i o n s g r a c e f u l l y led to a National Historic Park b e i n g s i t e d

of time, money, effort, and g o o d w i l l such fighting produces.

in R i c h m o n d , C a l i f o r n i a . S h e w a s o r i g i n a l l y e n g a g e d to

Perhaps most important, a good p l a n — o n e that incorporates

w o r k on a Rosie the Riveter s c u l p t u r e . " W h e n the city hired

early input on v a l u e s and uses from the site's users as w e l l as

m e in 1 9 9 7 , their original aim for the m e m o r i a l w a s to honor

reaction to potential designs from those u s e r s — c a n prevent

the l o c a l w o m e n w h o b u i l t s h i p s d u r i n g W W I I in Rich-

the kind of disaster that Tilted Arc, say, became, despite its

m o n d ' s Kaiser S h i p y a r d s . I did a little research and f o u n d

undoubted aesthetic value.

that there w a s no p e r m a n e n t c o m m e m o r a t i o n of w o m e n ' s

Planners are u n a n i m o u s in their c a u t i o n s against

h o m e front labor a n y w h e r e in the U.S., so I began to p l a n an

h i g h - h a n d e d n e s s , the " e x p e r t " s y n d r o m e . C y n t h i a N i k i t i n

effort that w a s broader in scope. T h i s a l l o w e d us to begin a

(New Y o r k City) contrasted the " m u l t i d i s c i p l i n a r y expert

d i a l o g u e w i t h the N a t i o n a l Park S e r v i c e , and

Congress

design t e a m " and its potential arrogance w i t h the "participa-

a u t h o r i z e d R o s i e t h e R i v e t e r / W W I I H o m e Front N a t i o n a l

tory public art project" or " p u b l i c art charette" processes in

Historical Park in 2000."

d i s c u s s i n g h o w to a v o i d b u i l d i n g p r o j e c t s that site u s e r s

A n o t h e r e x a m p l e of creatively redirecting the plan-

hate. Still, she noted, these p a r t i c i p a t o r y p l a n n i n g m o d e s

ning process c o m e s from Helen Lessick, an installation artist

have dangers of their o w n : less aesthetic force, and wasted

in Los A n g e l e s , w h o s t e p p e d into a m u n i c i p a l

time and money.

planning

p r o c e s s w i t h i d e a s for s c u l p t u r e of her o w n . T h r o u g h her

A l l the s u r v e y r e s p o n d e n t s r e c o m m e n d e d includ-

ability to listen and w o r k with an existing plan, she w a s able

ing site users in the process as early as possible. Getting peo-

to enrich it and e x p a n d her client's notions of the possible.

ple's

Her House for Summer,

the first in a series of " H o u s e s " she

important to understand their v i e w s of the site, their version

has built a r o u n d the c o u n t r y , w a s p r o p o s e d to the city of

of its story, and their uses of the site before b e g i n n i n g the

Portland.

reaction

to

completed

plans

is not

enough;

it's

plan. But to stay sane, consultants w o u l d do w e l l to heed Jes"In 1985 I a p p r o a c h e d the Department of Parks and

Recreation w i t h a p r o p o s a l for a s c u l p t u r e of l i v i n g trees. I

sica Cusick's (Santa Monica) sage w o r d s : "Don't expect public art to be 'all things to all p e o p l e . ' "

c a m e to Hoyt A r b o r e t u m . C o n s u l t i n g began by s h o w i n g up

So planners advocate finding a client w i t h a strong

w i t h a v i s i o n , a $500 grant, a n d l i a b i l i t y i n s u r a n c e . M y

vision; incorporating users' insights early; " p r e p l a n n i n g " by

p r o p o s a l w o r k e d its w a y t h r o u g h c o m m i t t e e r e v i e w and

d e v e l o p i n g a clear and a n a l y t i c a l p i c t u r e of the project's

r e v i s i o n . I t h e n d e v e l o p e d r e l a t e d site- a n d t i m e - s p e c i f i c

o v e r a l l setting; w o r k i n g w i t h c l i e n t s that suit o n e ' s o w n

performances and poetry readings, and participated

in

vision; building a nonhijackable plan that is transparent and

A r b o r e t u m e v e n t s . " Other artists used the s c u l p t u r e for their

o w n e d by all its participants; doing planning w i t h the p e o p l e w h o w i l l actually i m p l e m e n t the plan; and being ready to seize opportunities, change horses in midstream, and make the most of w h a t y o u find on the ground. A n d not expecting e v e r y o n e to love you.

That's a tall order, but the collected e x p e r i e n c e and k n o w l e d g e of these consultants p r o v i d e a useful roadmap for the planning process.

A N N K L E F S T A D is a sculptor

and writer

nesota, and is also news and features

editor

in Duluth,

Min-

of mnartists.org.

FACILITATION I O I

PORTER ARNEILL

Historically, s e l e c t i n g art for p u b l i c d i s p l a y w a s

toward politics more than art. Personally, I don't adhere to

probably simple. There was usually one decision maker

one system alone because I k n o w that a variety of idiosyn-

(Tutankhamen, Cleopatra, N a p o l e o n , S a d d a m ) , and

cratic issues w i l l arise for every project. I w a n t to promote

the

theme of the artwork w a s d e t e r m i n e d by the p r e v a i l i n g

creative thinking, and I want to e m p o w e r a panel to deter-

dogma of the day. More recently, w i t h the advent of legis-

mine its o w n methods and feel o w n e r s h i p of the process. Per-

lated m u n i c i p a l p u b l i c art programs ( P h i l a d e l p h i a passed

haps it's the artist in me. but 1 think providing adaptations for

the first percent-for art o r d i n a n c e in the U n i t e d States in

a variety of situations and encouraging dialogue is crucial.

1959), the public process of selecting art has been formalized

Ideally, I w a n t the art to drive the selection p a n e l p r o c e s s

and pluralized, w h i c h opens it to the perceptions, misper-

rather than a l l o w i n g the proverbial tail to w a g the dog.

ceptions, and politics of its citizenry.

I joined my first artist selection panel in 1992. T h e

WHAT IS ART?

meetings w e r e structured and w e l l a d m i n i s t e r e d , but as a

I've e n d u r e d m a n y d i s c u s s i o n s a b o u t " a r t " and

biased y o u n g artist/idealist w h o had spent the previous six

have seen h o w infrequently one person's definition matches

years slaving a w a y in art school, watching a group of busi-

another's. Like sex, politics, and religion, i n d i v i d u a l inter-

ness people, citizens, architects, engineers, and bureaucrats

pretations of art often i n v o l v e v i s c e r a l , s o m e t i m e s a l m o s t

deliberate over art w a s a bit unsettling. A l t h o u g h the facilita-

sacred, b e l i e f s . U n l i k e c u r a t i n g for a m u s e u m or gallery,

tor w a s w e l l intentioned, guidance w a s lacking for those on

w h e r e one or a select few trained i n d i v i d u a l s c h o o s e artists

the panel w i t h limited relevant visual art experience. T h e

and artworks, t o d a y ' s p u b l i c art s e l e c t i o n p a n e l p r o c e s s

more extroverted and politically s a v v y people dominated the

e n c o u r a g e s d i a l o g u e and d e c i s i o n m a k i n g a m o n g p e o p l e

meeting and intimidated the other panelists, including me.

with diverse backgrounds, tastes, and sensibilities. It is the

Personalities and interpersonal issues arose and caused con-

invigorating task of the public art administrator as a facilita-

fusion, and the discussion often meandered off into tangen-

tor to h e l p keep the process f l o w i n g and g u i d e the partici-

tial speculations about safety, maintenance, and the potential

pants to select the most appropriate artist(s) for a project.

opinions

of neighbors. W h e n

I f i n a l l y mustered

some

courage and spoke up, I found that the k n o w l e d g e and expe-

WHAT'S IN YOUR TOOLBOX?

rience I possessed w a s appreciated by most of the panelists. I

T h e well-versed public art facilitator uses predeter-

realized that an educated v o i c e of reason focused on the task

m i n e d policies, guidelines, and protocols along w i t h sensi-

at hand is a valuable tool in keeping a panel on track and ful-

bilities

filling the assignment of selecting artists.

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

gleaned

from

contemporary

art,

art

history,

Over the years, public art programs have evolved a

horse sense, and peers to assure that the p u b l i c art selection

variety of policies, guidelines, protocols, and voting mecha-

process is facilitated fairly and effectively. W h i l e it's impor-

nisms for s e l e c t i n g artists. W h i l e s o m e p e o p l e m a y think

tant to p a y attention to structural matters, w h a t about the

these are universal, it's been my experience that most are pro-

subtler interpersonal issues that o c c u r d u r i n g p a n e l meet-

prietary.

Many

public

art p r o g r a m s — p a r t i c u l a r l y

those

answering to a governmental b o d y — a d h e r e to a voting sys-

Maurice, Louisiana (population 642) Village Council, May 15,2002. Left to Right: Paul Cat-

tem for selecting artists. T h i s can be effective, but quantita-

alon, Lee Wood, Barbara Picard (Mayor), Mary Hebert (Clerk), Marlene Theriot.

tive m e t h o d s tend to be rigid, i m p e r s o n a l , and oriented

ings? H o w does a facilitator learn the skills required to navi-

seasoned facilitators c o n t i n u a l l y seek to learn n e w skills for

gate political waters? Unfortunately, the a n s w e r is familiar to

f a c i l i t a t i n g m e e t i n g s . T h e truth is that e v e r y o n e has to

p u b l i c art p i o n e e r s : in the t r e n c h e s . Most s e l e c t i o n p a n e l

d e v e l o p his or her o w n techniques. So, w h i l e you're doing

facilitators are c o n t i n u a l l y i m m e r s e d in trial by fire. Even

that, here are a f e w tips that might be h e l p f u l .

1. THERE IS NO SINGLE RIGHT WAY TO FACILITATE A

9 . LISTEN.

SELECTION PROCESS.

Listen.

T h e process is organic and the m a k e u p of every panel is u n i q u e . D e v e l o p y o u r o w n style. G o a n o n y m o u s l y to other

1 0 . BE PREPARED TO ENCOUNTER DIFFICULT PEOPLE AND

p u b l i c meetings and critique the m e t h o d s and styles of oth-

SITUATIONS.

ers. What are y o u r strengths and w e a k n e s s e s ? If y o u w e r e on

Often, w h e n w e h a v e a strong emotional reaction to another

a panel, w h a t w o u l d m a k e y o u more comfortable?

person, it's b e c a u s e he or she is exhibiting a behavior that

2 . PREPARE AND TAKE YOUR TIME.

meeting p u s h m y buttons. O v e r time I've learned to remain

B y the time y o u cart the obligatory slide projector, digital

calm and focus on m y responsibility as a facilitator. W h e n I

w e ' d rather not see in ourselves. O n e or t w o p e o p l e at every

projector, laptop computer, files, slides, bagels, and bottled

feel an emotion rising in reaction to a c o m m e n t or an indi-

water to the meeting, y o u ' v e e x p e r i e n c e d more stress than

vidual, I pause, take a breath, and h a v e a q u i c k conversation

most air traffic controllers. Get to meetings at least forty-five

w i t h myself: " H o w do I want to react to this? What serves

m i n u t e s early to set u p and a l l o w y o u r heart and breathing

the panel?" It takes practice, but if I enter the meeting

to return to normal r h y t h m s . W h e n there's a break, take

k n o w i n g that m y buttons are going to be p u s h e d , I can usu-

y o u r s too.

ally h a n d l e the challenge.

3 . EXPECT TO MAKE MISTAKES.

1 1 . BE CONSCIOUS OF BIASES.

It w i l l h a p p e n . Y o u ' r e h u m a n . G i v e yourself a break.

I am an art snob, but part of m y job as a facilitator is to be sensitive to the biases of others and to be m i n d f u l of m y o w n . Rather than r e s p o n d i n g emotionally, I can use m y

4 . REHEARSE AND ANTICIPATE. A l o n e , w i t h y o u r cat, or w i t h peers, practice w i l l help you

k n o w l e d g e of art history and offer a thoughtful explanation

feel more comfortable during a meeting. H o w w i l l the panel

as to w h y a w o r k is derivative or p h y s i c a l l y inappropriate

b e arranged? W h a t questions might arise?

for a particular site. Of course, I also h a v e to respect the fairness of the process and be cautious not to overstep m y responsibility as the liaison b e t w e e n an artist and the panel.

5 . ORIENT THE PANELISTS. T h e first panel meeting s h o u l d i n c l u d e orientation about the process and an o v e r v i e w of contemporary public art. If pos-

1 2 . EXPLAIN JARGON.

sible, talk w i t h i n e x p e r i e n c e d panelists beforehand to edu-

Like other specialists, art administrators w i e l d v o c a b u l a r y

cate t h e m and h e l p ease their fears and concerns.

that m a y be unfamiliar to those outside the field. Take the time to familiarize panelists w i t h s p e c i a l i z e d terms, and e x p l a i n the use of these w o r d s by putting them in context.

6 . STRIVE FOR CONSENSUS. A panel w o r k i n g t o w a r d c o n s e n s u s is more likely to comm u n i c a t e and w o r k together toward a c o m m o n goal.

1 3 . TRUST THE PROCESS.

R e m e m b e r that c o n s e n s u s doesn't require unanimity.

There's a reason so m u c h effort goes into establishing the policies, guidelines, and protocols of public art selection

7 . ENCOURAGE DIALOGUE.

programs. If the process is i m p l e m e n t e d according to the

T h e r e are times w h e n a facilitator's intervention is required,

program framework, and there's a good panel, then the facil-

but panelists s h o u l d speak their minds. T h i s is a public

itator's job s h o u l d be relatively smooth and simple.

process; encourage all of the panelists to speak up.

1 4 . CRITIQUE YOUR WORK. 8 . CONSIDER A STRAW POLL.

Formal and informal evaluations and feedback from pan-

U s i n g a straw poll enables the group to see w h e r e things

elists and artists are invaluable to consistently i m p r o v e the

stand before a p e r m a n e n t d e c i s i o n is made; it can help keep

process.

the process m o v i n g .

P O R T E R A R N E I L L holds the Massachusetts served

as director

Laumeier

Sculpture

and as director Arts public

Commission

of Art

of education

of public

degree in fine art

in Boston. and

Park and Museum

Previously

adjunct

curator

in St. Louis,

art and education

in St. Louis.

art administrator

in Kansas

a master's

College

Currently

for the Municipal

for the

Las Vegas, Nevada • Sandra Duncan, Public Art Program Manager,

he

Metropolitan Nashville Arts Commission • Greg Esser, Public Art Network

at

Manager, Americans for the Arts • John Grant, Public Art Director, Denver

Missouri,

Office of Cultural Affairs • Kate Hackman, Director, Art in the Loop

Regional

Program, Kansas City • Brooke Jones, Public Art Program Coordinator.

he is director Art

from

and

Office of Cultural Affairs, San Jose • Peggy Kendellen, Public Art Manager,

Commission

Regional Arts & Culture Council, Portland • Chris Manke, Percent for Art

City.

Coordinator, Wisconsin Arts Board • Lee Modica, Administrator, Florida's Art in State Buildings Program • Kitty Pheney, Percent for Art Program

The author gratefully acknowledges the following individuals

Director, Louisiana Division of the Arts • Rene Piechocki, former Public

for sharing their public art street smarts: Rebecca Banyas, Public Art

Art Network Manager, Americans for the Arts • Garrison Roots, Professor,

Manager, Seattle Monorail Project • Rebekah Burr-Siegel, Arts Services

University of Colorado, Boulder • Lisa Tuttle, Interim Public Art Coordina-

Manager, City of Brentwood • Nancy Deaner, Manager of Cultural Affairs,

tor, Fulton County Arts Council.

Unrealized Public Art JOYCE POMEROY SCHWARTZ

Public art is, by definition, art the p u b l i c sees. But

c a t e d the r e a c h a n d q u a l i t y of t h e f a b l e d W P A p u b l i c art

w h a t of u n s e e n , b e c a u s e u n r e a l i z e d , p u b l i c art? W h y do

program of the 1930s in g o v e r n m e n t b u i l d i n g s . T h e y c o n -

s o m e outstanding p u b l i c art proposals fail? S o m e t i m e s , pro-

v e n e d expert p r o f e s s i o n a l artist s e l e c t i o n juries, g u i d e d by

posals are rejected because they are too controversial, w h i c h

the NEA's t h e n - i n f l u e n t i a l Directors R i c h a r d K o s h a l e k a n d

can result from a variety of social and cultural forces. S o m e

Brian O'Doherty. Crucial to T h a l a c k e r ' s strategy w a s i d e n t i f y -

artworks c o m e into being despite their controversial nature.

ing outstanding A m e r i c a n c o n t e m p o r a r y artists, g i v i n g m a n y

For e x a m p l e , one of the icons of m o d e r n p u b l i c sculpture,

their first o p p o r t u n i t y to create major p u b l i c art. T h i s pro-

A u g u s t u s R o d i n ' s The Burghers

gram remains today.

of Calais,

a l m o s t d i d not

N a t i o n w i d e , e x p a n d i n g percent-for-art p r o g r a m s

happen. tells the story of six distinguished citizens

b e c a m e catalysts for p u b l i c art installations by c o n c e p t u a l

of the French coastal t o w n of Calais w h o in 1 3 4 7 , during the

and ecological artists of the 1960s and 70s. T h e y f o u n d that

100 Years War w i t h England, voluntarily accepted captivity

w o r k i n g outside m u s e u m a n d gallery v e n u e s w o u l d a d v a n c e

by K i n g E d w a r d III to save their t o w n from extermination.

their personal aesthetic v i s i o n in p h i l o s o p h i c a l l y m e a n i n g f u l

R o d i n w o n the c o m p e t i t i o n to c o m m e m o r a t e the tragic

w a y s . T h e s e artists c o n t i n u e to i n s p i r e i n n o v a t i v e art for

burghers in 1885, w h e n his first maquette w a s a p p r o v e d . To

p u b l i c spaces.

Burghers

e n h a n c e his c h a n c e of w i n n i n g this public c o m m i s s i o n , the

O n e c r i t i c i s m of " d i f f i c u l t " or a v a n t - g a r d e art for

sculptor promised to deliver "six sculptures for the price of

public places is the a s s u m p t i o n that those u n s c h o o l e d in art

one."

His e v e n t u a l

creation,

instead

of i d e a l i z i n g

the

w o u l d not "get it." Contrary to this belief is the w i d e accept-

burghers' sacrifice, revealed their misery by p l a c i n g the six

a n c e of great historical p u b l i c art. M i c h e l a n g e l o ' s David

m e n level on the ground, instead of raising them to heroic

the most visited p u b l i c artwork in Florence, as is Bernini's

heights, as w o u l d have been customary. Each w a s then per-

s c u l p t u r e of the Four

c e i v e d as being in personal conflict w i t h the other. It w a s ten

w h i l e lesser w o r k s are overlooked.

Seasons

is

in Rome's Piazza Navona,

years before the m o n u m e n t w a s built, and then w i t h great controversy over the work's lack of pedestal, its imagery, and siting. T o d a y s o m e e i g h t e e n v e r s i o n s of this w o r k exist

Isamu Noguchi with model for Riverside Drive playground project, designed in 1963 with the

w o r l d w i d e , but it w a s not until 1924, after the sculptor died,

architect Louis I. Kahn. Changes demanded by the Parks Department killed the project. The

that the incomparable quality of his n o w w i d e l y celebrated

artist did build a more conventional playground for the city of Atlanta in the 1980s.

m o n u m e n t w a s truly appreciated.

Artists often say that their most i n n o v a t i v e proposals are a tough sell for art selection committees. Tony Smith, a celebrated m i n i m a l i s t sculptor, had f e w public art projects c o m m i s s i o n e d w h i l e he w a s alive. He once presented a proposal for a p u b l i c h i g h s c h o o l in Staten Island as a q u i c k sketch that suggested a radically n e w direction for his w o r k .

T h e architect chose instead another artist's predictable polished steel abstract sculpture, w h i c h perhaps resembled his o w n design a p p r o a c h . Smith died shortly thereafter, n e v e r h a v i n g had the opportunity to d e v e l o p further his n e w aesthetic vision.

Rockefeller Center in the 1930s b e c a m e a corporate role m o d e l by e s t a b l i s h i n g h i g h s t a n d a r d s for p u b l i c art, c o m m i s s i o n i n g Paul M a n s h i p , Isamu Noguchi, and Jose Luis Sert, a m o n g others, to create s c u l p t u r e s , w a l l friezes, a n d murals throughout the c o m p l e x . A l t h o u g h their art program continues today and is justifiably l a u d e d , they are perhaps best k n o w n for a w o r k that n e v e r c a m e to fruition: D i e g o Rivera's Man at the Crossroads,

begun in 1933 in the Rocke-

feller Center's R a d i o City, but c h i p p e d off the w a l l a n d destroyed on February 9, 1934 b e c a u s e of its controversial depiction of Lenin.

In the 1970s the National E n d o w m e n t for the Arts (NEA) g a v e cities across the c o u n t r y u p to $50,000 in m a t c h i n g f u n d s to c o m m i s s i o n p u b l i c art c r u c i a l to c i v i c downtown

renewal. Concurrently

the G e n e r a l

Services

A d m i n i s t r a t i o n (GSA), under the leadership of Karel Yasko, G S A director, and Donald Thalacker, a y o u n g architect, repli-

B e s i d e s fears that the public w i l l reject controver-

artists are encouraged to participate. A project by a superior

sial art b e c a u s e of its subject matter or presentation, curators

artist m a y be u n d e r m i n e d by the difficult task of coordinat-

and arts administrators m a y w o r r y that " u n f a m i l i a r " art w i l l

ing input from varied constituencies: architects, engineers,

not be u n d e r s t o o d by those not s c h o o l e d in line art. But the

fabricators, flinders, c o m m u n i t y groups. Public art coordina-

p u b l i c does "get it" w h e n c o n t e m p o r a r y public art is supe-

tion plays a vital role in mediating b e t w e e n artists' u n c o m -

rior a n d m e a n i n g f u l . For e x a m p l e , M a y a Lin's

promising c o m m i t m e n t to the integrity of their art, and the

Memorial

Vietnam

w a s not the c o n v e n t i o n a l memorial that some m a y

logistical, social, and d e v e l o p m e n t a l n e e d s of the project.

h a v e e n v i s i o n e d . Yet the general p u b l i c , n o t a b l y v e t e r a n s

It may be instructive to e x a m i n e a particular public

and their families, c o n t i n u e to hilly embrace the artist's point

art project as an illustration of h o w the process can go awry.

of v i e w , and Lin's creation is c o n s i d e r e d by m a n y the most

T e r m i n a l 1 at JFK International A i r p o r t w a s c o m p l e t e d in

p e r s o n a l l y affecting of c o n t e m p o r a r y p u b l i c art memorials,

1999. T h e Port A u t h o r i t y of N e w York and N e w Jersey,

one that c a n be c o m p a r e d favorably w i t h Rodin's Burghers

w h i c h mandates art for their airports, asked four a i r l i n e s —

of

Calais rather than more predictable m o n u m e n t s .

A i r France, L u f t h a n s a , Japan A i r l i n e s , and Korean A i r — t o

P u b l i c art that s u c c e e d s d e s p i t e i n i t i a l fears or

form a consortium to build the terminal. Unfortunately, the

reservations calls into question a s e l e c t i o n process that tries

Port A u t h o r i t y neglected to d e m a n d a customary percent-for-

too h a r d to p l a y it s a f e a n d r a i s e s a v a r i e t y of q u e s t i o n s

art c o m p o n e n t for the project. A l t h o u g h the four a i r l i n e

about that process. Is there too m u c h d e p e n d e n c e on artists

directors, w h o had equal w e i g h t in d e c i s i o n m a k i n g , w e r e

w h o k n o w h o w to w o r k the system? A r e s e l e c t i o n c o m m i t tees too f e a r f u l of c o n t r o v e r s y ? D o e s an e n s h r i n e m e n t of political correctness and c o m m i t t e e a d v o c a c y of local artists

fAtm.

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w i t h limited ability d o o m s o m e w o r t h y projects? Do inadequate proposal fees d i s c o u r a g e w e l l - q u a l i f i e d p e o p l e ? Does a f o c u s on p r a c t i c a l i s s u e s o v e r s h a d o w art's p o t e n t i a l for universal m e a n i n g ?

Joyce K o z l o f f , w h o h a s created m a n y s u c c e s s f u l p u b l i c artworks, asks, " A r e w e trying so hard not to offend or p r o v o k e that our o n l y goal has b e c o m e e d u c a t i o n ? Is that w h y so m a n y p i e c e s s e e m to be pandering and talking d o w n ?

M a y b e our c o m m u n i t i e s e x p e c t more and deserve better, and p o s s i b l y art d o e s not h a v e to feel so g o o d , a n y w a y . If w e respect o u r s e l v e s as artists, w e w i l l be m o r e able to m a k e

^'tMitrz/.-'M"!. IHU1 • S'rfru/ itastt CKAU/nr .'Jfitli Cj'lAMF our wKFrt00) <KW Jt^tnt. ceMurK- v-r stunKC D/ar,

challenging, c o m p l e x , and m o v i n g works. T h e r e is a differe n c e b e t w e e n p u b l i c relations and p u b l i c art." 1 Innovative proposals m a y be voted d o w n by skeptical s e l e c t i o n c o m m i t t e e s d o m i n a t e d by p e o p l e w i t h o u t an arts b a c k g r o u n d . But sometimes even w e l l - q u a l i f i e d committees are d o n e in by the c o m p l e x i t i e s of bringing a w o r k in progress to fruition or finding w a y s to ensure that the best

ABOVE: Bob Morris, drawing for Granite anil Steam, 1983. A maze for the Anchorage Historical and Fine Arts Museum. When the temperature falls below 40'F, low steam is emitted; searchlights change color for special events. The art committee selected intstead a small, red, metal abstract sculpture believing Morris's work was too ambitious.

BELOW: Stacey Levy & Winifred Lutz, Confluences: Horn olthe SchuM

2002. Schuylkill

River Park, Fairmount Park, Philadelphia, PA. Native stone, asphalt, concrete. Lutz and Levy's proposal was designed to reveal the river's hydrology and tidal nature, and create a welcoming gathering place for all types of users.

i n i t i a l l y s u p p o r t i v e of c o m m i s s i o n i n g art in the terminal, they b e c a m e stalemated in m a n y aspects of the b u i l d i n g program, i n c l u d i n g public art.

In the e n s u i n g management disarray over the complexities of b u i l d i n g the terminal, three important proposals m a d e by q u a l i f i e d N e w Y o r k artists w e r e d e f e a t e d . R. M. Fisher e n v i s i o n e d a futuristic c e i l i n g of light fixtures. Red G r o o m s created a t h r e e - d i m e n s i o n a l f r i e z e , w i t h s i g n a g e about theaters and businesses in Times Square, on the soffit s u r r o u n d i n g i m m i g r a t i o n e n t r a n c e s . In the i n t e r n a t i o n a l arrivals corridor, Jim A n d e r s e n planned a series of television

i

w h o b e l i e v e c o m m i s s i o n i n g the best art by the best artists w i l l inspire more of the same.

M o r e h e l p is on t h e w a y . C h r i s t o a n d

Jeanne-

C l a u d e h a v e m a d e o p t i m i s t i c p e r s i s t e n c e t h e i r m a n t r a in order to realize their c o m m i t m e n t to a m b i t i o u s p u b l i c proposals. O n e of their controversial, long-term, p u b l i c art proposals, The Gates for Central

Park, h a p p e n e d to w o r l d - w i d e

a c c l a i m in February 2005. A g n e s Denes's Tree Mountain

is

g r o w i n g e x p a n s i v e l y in Iceland after a t w e n t y - y e a r s e a r c h for an appropriate p l a c e for the w o r k . T h e s e projects p r o v i d e h o p e for e x t r a o r d i n a r y p u b l i c art p r o p o s a l s b e y o n d their o r i g i n a l sites. M a n y artists h a v e d r e a m e d v i s i o n a r y i d e a s that d e s e r v e a s e c o n d c h a n c e to b e c o m e a reality. If art in p u b l i c p l a c e s is a mark of c i v i l i z a t i o n a n d identifies the dist i n c t i v e n e s s of our cities, p l a z a s , and p u b l i c s p a c e s , it m a y be instructive to revisit u n r e a l i z e d p r o p o s a l s a n d to i m a g i n e w h a t n o t e w o r t h y u n b u i l t art might do to e n h a n c e our e n v i ronment a n d our lives.

JOYCE P O M E R O Y S C H W A R T Z is an independent monitors interspersed with art images and s o m e subliminal

consultant,

advertising to engage passing travelers. T h e s e proposals rep-

gration

resented an innovative concept: c o m m i s s i o n i n g serious pub-

the broader

lecturer,

of permanent concepts

lic art as v e h i c l e s for witty c o m m e r c i a l information w i t h o u t

She is the former

any creative c o m p r o m i s e .

Pace Gallery

T h e o n e p r o p o s a l that w a s a c c e p t e d w a s A y c o c k ' s Star Sifter,

Alice

and curator

Photographer's

with

and temporary of cultural

director

of sculpture

in New

public on the

contemporary

and urban

(now PaceWildenstein) Gallery

a focus

art inte-

art

into

revitalization.

commissions

at

the

and founder/director

of

York.

an i n t e r a c t i v e , m u l t i p a r t , s u s p e n d e d

sculpture. T h e art committee, m a d e u p of p r i n c i p a l s of the four airlines, enthusiastically a c c e p t e d this a r t w o r k â&#x20AC;&#x201D; a s an aesthetic solution to a design flaw that had resulted in compromised s e c u r i t y â&#x20AC;&#x201D; i n s t e a d of the architect's m u n d a n e security solution. T h e three additional art w o r k s p r o p o s e d n e v e r h a p p e n e d , due in part to the architect's entreaty not to h a v e more art, and also the efforts of a management group hired late in the game to keep costs from rising. T h e c o m m i s s i o n process thus b e c a m e a v i c t i m of a battle a m o n g warring management partners as w e l l as a burgeoning time c r u n c h . 2 A r e A m e r i c a n s ready to embrace at h o m e the traditions of art a n d c u l t u r e they e n t h u s i a s t i c a l l y go abroad to experience? That question is best addressed by c o n s i d e r i n g not o n l y existing public art but also unrealized projects. Perhaps c o m p l e x , exotic, e v e n s h o c k i n g proposals are the very o n e s that n e e d a long s e c o n d look b e f o r e t h e y are t u r n e d d o w n . E x p a n d i n g the visual k n o w l e d g e of lay c o m m i t t e e s , c i v i c officials, architects, and c o m m u n i t y agencies is a difficult but important task. Having open, e d u c a t i v e d i s c u s s i o n s w i t h all interested parties about h o w to discern the quality of art can encourage a more adventurous selection process and better understanding of artists' ideas. Perhaps looking more critically at failed projects of merit and their process can be instructive.

W o r t h w h i l e but unbuilt public art offers a sad commentary on shortsighted c i v i c leaders and overly politicized processes. But there are s u c c e s s stories. Visionary mayors, governors, city c o u n c i l s , and c o n c e r n e d citizens w h o further

LEFT: Model for Pink Playground, 1985, by the Acconci Studio. The city of Atlanta turned

e x c e l l e n c e in p u b l i c art a n d a r c h i t e c t u r e are r e m e m b e r e d

down Acconci's satirical Pink Playground in the early 1990s. Girls are now accepted playing

p o s i t i v e l y w h e n they e m b r a c e the idea of m a k i n g possible

hockey, baseball, and basketball, and women have their own professional teams.

great art that e n h a n c e s their cities. In d o w n t o w n Chicago, the

ABOVE: Keith Sonnier, with Lee Harris Pomeroy Architects, interior view of MTA Fulton Street

n e w Millennium

train station. Sonnier's unrealized proposal featured three different lighting schemes, including

Park (2004) has q u i c k l y b e c o m e a b e l o v e d

landmark. T h i s w o r k is part of a long-standing c o m m i t m e n t

laser, solar, and projected.

of C h i c a g o city officials and farsighted, dedicated art patrons

NOTIS:

1. Joyce KozlofF, "The Kudzu Effect (or: The Rise of a New Academy)," Public Art Review vol. 8, no.i (1996), 41.

2. On a positive note, in the Terminal 4 project an enlightened client, the Dutch Schiphol Croup, supported the commissioning of major public art.

Planning to Stay Planning Physical and Conceptual Longevity in Public Art Commissions GLENN WHARTON

Public art is e v e r y w h e r e , and m u c h of it is falling apart. T h i s isn't n e w s to those of us w h o repair public works.

be carefully r e v i e w e d , and f u n d s must be allocated for future conservation measures.

S o m e p u b l i c art programs anticipate m a i n t e n a n c e concerns

A n t i c i p a t i n g m a i n t e n a n c e of durable materials is

by i n c l u d i n g conservators and other technical advisors in the

not a l w a y s s t r a i g h t f o r w a r d . S o m e artists create integrated

design phase of n e w c o m m i s s i o n s . T h e s e consultants bring

w o r k s that are indistinguishable from architects, landscape

e x p e r t i s e on h o w m a t e r i a l s age in a p u b l i c e n v i r o n m e n t .

architects, and others on the design team. Do w e maintain a

T h e y k n o w about public abuse and the specifics of metal cor-

V i c k i S c u r i f l o o r any d i f f e r e n t l y than other f l o o r s in the

rosion, p o l y m e r degradation, and graffiti barriers.

building? T h e best w a y to ensure appropriate maintenance is

S o m e c o m m i s s i o n s p h y s i c a l l y mark a p l a c e or an

to s p e c i f y strategies a c c e p t e d by the artist and m a i n t e n a n c e

e v e n t to d e l i b e r a t e l y s h a p e f u t u r e m e m o r y . O t h e r s p l a c e

department during the design phase. For e x a m p l e , there m a y

greater e m p h a s i s on n e w t e c h n o l o g i e s or public interaction

be s i g n i f i c a n c e to an artist-selected paint color and sheen,

than on long-term durability. In order to select appropriate

but not its p o l y m e r base. In this case, m a i n t e n a n c e d o c u -

m a t e r i a l s and b u d g e t for m a i n t e n a n c e , the artist and the

ments must carefully define the color and gloss and a l l o w for

c o m m i s s i o n i n g b o d y must define both the p h y s i c a l and con-

changes in the carrying m e d i u m as paint t e c h n o l o g y e v o l v e s

ceptual intentions of the work.

in the future.

Beginning w i t h p h y s i c a l longevity, p e o p l e around

C o n c e p t u a l longevity is defined and anticipated in

the design table s h o u l d establish a c o m m o n understanding

terms of an artist's intentions. If the artist is interested in cre-

of h o w long a w o r k is e x p e c t e d to live. If life e x p e c t a n c y is

ating public awareness of a political issue, instilling c o m m u -

less than five years, the artist is free to use experimental and

nity pride, or stimulating social change, the enduring impact

e p h e m e r a l m a t e r i a l s as l o n g as t h o s e do not p o s e p u b l i c

of these processes takes priority over material selection. T h e

safety hazards. Rapid deterioration m a y be a c c e p t e d and lit-

materials may be e x p e n d a b l e or replaceable, and the w o r k

tle m a i n t e n a n c e is necessary. For a lifespan of five to t w e n t y

may not be e x p e c t e d to p h y s i c a l l y endure.

years, a fair a m o u n t of p l a n n i n g and attention to material

T h e f o l l o w i n g c a t e g o r i e s of p u b l i c art are not

selection is required, yet s o m e n o n p e r m a n e n t materials s u c h

exhaustive. I offer them to stimulate consideration in plan-

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

ning for both p h y s i c a l and conceptual longevity.

p r o d u c t s m a y be e m p l o y e d . For eternal life (more than t w e n t y years), a rigorous standard of r e v i e w must be a p p l i e d .

TEMPORARY INSTALLATIONS

T h e p r o p o s e d materials, c o n n e c t i n g and a n c h o r i n g mecha-

T h e s e w o r k s live on in the m e m o r y of those w h o

n i s m s , site preparation, and budgeting for m a i n t e n a n c e must

e x p e r i e n c e them, in their w r i t t e n and p h o t o g r a p h i c d o c u mentation, or in their critical r e v i e w by scholars. Christo and Jeanne-Claude spend vast s u m s to engineer temporary w o r k s w h o s e longevity exists in their archival-quality documentation and in important c o l l e c t i o n s that h o u s e their material remains. Jochen Gerz and Esther Shalev's Monument Against Fascism disappeared underground, yet w e c o n t i n u e to read and write about its potent s y m b o l i s m for those w h o disappeared under the Nazi regime.

TIME-BASED MEDIA M o v i n g - i m a g e and e l e c t r o n i c w o r k s p o s e other challenges to p h y s i c a l and c o n c e p t u a l longevity. Most artists w o r k i n g in t e c h n o l o g y m e d i a w a n t their w o r k to s u r v i v e , despite its lack of fixity. Yet v i d e o w o r k s demagnetize, projection e q u i p m e n t b e c o m e s obsolete, and n e w c o m p u t e r s no longer read outdated software. T h e s e w o r k s must be periodically " m i g r a t e d " to n e w media, but the artist's tolerance for c h a n g e dictates the l i m i t s of migration. Transferring from analog to digital, or r o u n d e d television screens to flat plasma screens, is governed by d o c u m e n t a t i o n of the artist's intent.

N a m Jun Paik's preference for old television casings m a y still a l l o w for transfer to digital technology, but future adminis-

trators m a y not be able to navigate these decisions w i t h o u t s o m e indication from the artist.

ACTIVIST ART M a n y contemporary artists promote social c h a n g e through their w o r k . Rafala Green created a m o s a i c environment in a M i n n e a p o l i s park w i t h children from the neighborh o o d . Her intent w a s to instill c o m m u n i t y p r i d e

while

creating d u r a b l e b e n c h e s . To c o n t i n u e t h e s e goals, s h e trained a g r o u p of " g u e r i l l a g a r d e n e r s " to c u t a n d reset replacement stones, r e m o v e w e e d s , and regularly s w e e p the p a t h w a y s and benches. Yet by using volunteers and children, she sacrificed the highest levels of craftsmanship and physical l o n g e v i t y â&#x20AC;&#x201D; a c o n s c i o u s decision.

A s a conservator w h o often faces deteriorating public art w i t h little m o n e y set aside for maintenance, I k n o w the i m p o r t a n c e of a t h o u g h t f u l p l a n n i n g process that i n c l u d e s projecting physical and conceptual longevity, and documenting the intentions of the artist and c o m m i s s i o n i n g body.

T h e s e d o c u m e n t s serve as guides for stewarding collections and a l l o c a t i n g future resources. If the intent is to create a d u r a b l e marker of p l a c e , then b u d g e t for m a i n t e n a n c e . If future care must i n v o l v e n e w generations of d i s e n f r a n c h i s e d y o u t h to c o n t i n u e an a c t i v i s t intent, t h e n r e c o r d it in t h e m a i n t e n a n c e plan. It's our o n l y h o p e for c o m m u n i c a t i n g to OPPOSITE PAGE: Worker cleaning graffiti at the AIDS Memorial Grove, Golden Gate Park, San

u n k n o w n caretakers in the future.

Francisco.

ABOVE: Vicki Scuri, terrazzo floor, Key Arena, Seattle, Wash.

RIGHT: Jochen Gerz and Ester Shalev, Monoment Agaiost Fascism, 1993. Photo taken by

GLENN W H A R T O N is a sculpture conservator specializing in contemporary art, and is on faculty at NYU's Museum Studies

the artist just before the lead column was lowered in the ground.

Program and at the Conservation

BELOW: Rafala Green, Touchstone Ptaia (one of four mosaic benches), 1999,

Arts. He acknowledges the Samuel H. Kress Foundation publication fellowship on consenting public art.

Minneapolis, Minn.

Center of the Institute

of Fine for a

F R E E M A N

1 = • f ^ cs W H I T E H U R S T 5 8 3 3 NORTH 30TH S T ~ P H O E N I X , AZ 8 5 0 1 6

PJ

F_X

M C O C O

C M

C M

C M

B?2 602

Art in neighborhood revitalization • Art in transit Art in economic development • Art in public places Art in architecture, landscape and urban design

Public A r t P r o g r a m &

Development

Our public art plans create n e w visions for the design of cities, c o m m u n i t i e s and public infrastructure. W e d e v e l o p plans a n d policies that integrate art with capital programs, special districts, r e d e v e l o p m e n t

Project Management

and e c o n o m i c revitalization. W e collaborate with artists and designers, and invent creative public processes that are tailored t o e a c h project.

Todd W. Bressi is an urban designer, editor-at-large of the journal Places and lecturer in city planning at the University of Pennsylvania.

BROWN4 K E E N E R

Gretchen Freeman Deborah Whitehurst fwg@sprintmail.com

B R E S S I

URBAN

DESIGN

• PLACE

PLANfs

2300 Chestnut Street, Suite 400 Philadelphia, PA 19103 215-751-1133 todd@bkurbandesign.com

CITY OF DALLAS PUBLIC ART PROGRAM Expressions of Our City

The City of Dallas Public Art Program was established in 1988 for the purposes of commissioning new artworks and preserving its existing public art collection. The City currently owns and maintains a collection of over 300 artworks.

for more information: call, write or visit us on-line 1925 E l m S t r e e t * 4 t h F l o o r * D a l l a s TX 7 5 2 0 1 * 214.670.5639 w w w . d a l l a s o u l t u r e . o r g Victory Plaza - Athena Tacha

THE A M E R I C A N S

FOR THE A R T S P U B L I C ART

NETWORK

presents

THE

LAY

OF

THE

PUBLIC ART, POLITICS, AND THE

LAND ENVIRONMENT

T h e nation's leading a n n u a l g a t h e r i n g of public art p r o f e s s i o n a l s , public artists, and o t h e r s .

Keynote Presentation by artist

Agnes Denes

*

Year In Review presented by

Donald Lipski

AMERICANS /0'-"'eARTS

and

Sherry Kafka Wagner

www.AmericansForTheArts.org/PAN presentation of the annual

Order the 2005-2006 Public Art Program Directory, the most comprehensive listing of its kind with detailed information on more than 350 public art programs nationwide.

Public Art Network Award Case Studies Tours Panels

$25 Americans for the Arts members price $35 non-members Product No. 100081 www.AmericansForTheArts.org/bookstore

or call 800.321.4510

CHARGE

W'heatfield -A Confrontationâ&#x20AC;&#x201D;Battery Park Landfill. D o w n t o w n Manhattan, s u m m e r 1982.

T w o acres of wheat planted and harvested by the artist on the Batter}- Park landfill in lower Manhattan.

Photograph: < Agnes D e n e s

I ft

Public Art Conference

J U N E 9-10, 2005 Hilton Austin * Austin, TX

/ /

Register online at www.AmericansForTheArts.org/LeadingTheCharge'

â&#x20AC;¢

PROBLEM. Cultural conquest 8 0 BACK 2

GAME CULTURE: i Is the whole .

I environment^ PROBLEM: \ .Cultural invasion*

T GAME CULTURE: Connects to the context

PROBLEM: Architect art )0 8ACIT1

Selected sources: Dialogurt frrPttWfe Art isyJForn nnkojjearl, Boston: MIT Press, 2001 Empowering Education, Critical Teaching for Social Change by Ira Shor, Chicago: The University CWCego Press. 1992 Intervention and Alchmey: A Public Art Primer by Richard Posner, Minneapolis: First Bank, 1990 Teaching to Transgress, Education as the Practice of Freedom by bell hooks, New York: Routledge, 1994

> twnJ-v.-jr.

I Be truly dangerous GO AHEAD 2 I

GUIDELINE: Keep it personal

PROBLEM: Art Branding Role GO BACK 2

SOLUTION: Demystifying â&#x20AC;˘0 AHEAD 2

Trans Public Art Came Wrestling w i t h the Process ÂŁ Issues SOLUTION:

'Act + Reflect

The game has goals, is a process, is an activity, is uncertain, involves decision making, is competitive, cooperative and is not real. It is all true.

It is oriented around an alternative view of public art. A view that identifies the game rules, play of it, problems, solutions, provides guidance, and connects it to the cultural context. It incorporates elements of liberation theory, game design principles and poetic license.

You win by completing the journey and remaining fully human. You will have to heed dangers, trust yourself, choose good council, be lucky, be skeptical, be hopeful.

THE PLAY: For Two or More Players. The goal is to finish first. Each player is to have a marker. Use a coin as a dice. Move ahead 4 places for every flipped coin "head". Move ahead 1 place for each "tails". You must have the exact number at the finish to win. Follow the guide words. Good luck.

Artwork by KEITH CHRISTENSEN Conceptual framework influences and sources: Mike Alewitz, Paulo Freire, Edgar Heap of Birds, John Hitichcock, bell hooks. Naomi Klein.

Ira Shor, Kryztof Wodiczko, Mierte Laderman Ukeles, Minneapolis youth wrestlers and Public Art Review,

PUBLIC ART GROWS WILD IN AUSTIN. CELEBRATE 2 0 YEARS OF PUBLIC ART IN AUSTIN!

Check out our lay of the land at the Public Art Network Pre-Conference 2005.

Since 1985, the Art in Public Places Program has commissioned over 100 pieces t h r o u g h o u t Austin, w i t h the goal of inspiring residents, fostering neighborhood identity, creating jobs for artists and keeping Austin unique.

A r t in Public Places P r o g r a m Economic Growth and R e d e v e l o p m e n t Services O f f i c e Cultural A r t s Division City of Austin 512.974.9314 www.cityofaustin.org/aipp Artists f e a t u r e d left t o right: Jill B e d g o o d , Lori N o r w o o d a n d Linnea Glatt.

ft tUff i PuHtL&yh'jub*''

Public Art and Design E

"WlllW" /*** w/r» %rt**ns M AtitM rt/n,AJlf

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^nenu- *<r" W * 3 mines

Maverick Branch Library Architect: Alamo

Architects

Artist: Henry Ray burn

(210) 207-4433

T H I S

SUMMER,

A U S T I N , TEXAS

PLAYS

H O S T TO T H E

ANNUAL

PUBLIC

ART

NETWORK

GATHERING,

D R A W I N G H U N D R E D S OF P R O F E S S I O N A L S I N T H E FIELD F R O M T H R O U G H O U T T H E N A T I O N . I N H O N O R T H I S O C C A S I O N , PAR

OF

C O M M I S S I O N E D A PAIR OF ARTICLES A B O U T P U B L I C ART I N T E X A S . W R I T E R S A N J A L I

G U P T A A N D REBECCA S. C O H E N OFFER P E R S O N A L I Z E D T O U R S OF PAST A N D PRESENT PROJECTS, A N D OFFER I N S I G H T S I N T O T H E LONE STAR STATE. O F COURSE, T E X A S IS T O O BIG A N D ITS PUBLIC ART T O O E X P A N S I V E T O COVER I N THESE F E W P A G E S . T H E SELECTIONS I N C L U D E D HERE, H O W E V E R , S U G G E S T T H A T T H E P I O N E E R SPIRIT IS ALIVE A N D K I C K I N G ; S U P P O R T IS S T R O N G , ARTISTS TAKE RISKS, A N D A U D I E N C E S ARE RECEPTIVE TO IDEAS. W H A T M O R E C O U L D Y O U W A N T ?

NEW

t/)ee/) in t/ie « (rf o/ f7 A N J A L I GUPTA

Public art is u n i q u e in that is defined solely by location. In Texas, this tenet is c o m p o u n d e d (or c o n f o u n d e d ) by the i m m e n s i t y of the terrain, not to m e n t i o n the fact that notions of aesthetic and financial propriety differ considerably from region to region. W h a t might pass as c o n c e p t u a l l y s o u n d and fiscally acceptable in A u s t i n , for e x a m p l e , might never e v e n reach the d r a w i n g board in Dallas. Historically, our cities h a v e s h u n n e d c o n c e p t u a l public artwork in favor of the safe, the figurative, a n d — a b o v e all e l s e — t h e static. But thankfully, this seems to be a fading archetype.

Distance fuels our diversity. Perhaps it also explains the n u m b e r of p u b l i c art p i e c e s tied, c o n c e p t u a l l y and literally, to t r a n s p o r t — b o t h the act a n d its s i g n i f i e r s . T h o u g h m u c h p u b l i c art in T e x a s m e r e l y m e m o r i a l i z e s a n d illustrates, it can also embellish and delight. But one has to go far off the beaten path in order to e x p e r i e n c e a fair sampling.

A n t Farm's Cadillac

Ranch—perhaps

the

most

i c o n i c p i e c e of p u b l i c art in the s t a t e — l i e s in the desert just outside the sleepy w e s t Texas t o w n of A m a r i l l o . Patron Stanley Marsh c o m m i s s i o n e d Cadillac

Ranch in 1974. Marsh also

c o m m i s s i o n e d Robert S m i t h s o n to create Amarillo

Ramp

in

1973. T h e Ramp, c o m p l e t e d by Richard Serra, T o n y Shafrazi, and N a n c y Holt (after S m i t h s o n ' s death in a p l a n e c r a s h w h i l e s u r v e y i n g the site), lies on Marsh's p r o p e r t y f i f t e e n miles n o r t h w e s t of t o w n . S m i t h s o n ' s crash site is close by.

Amarillo

Ramp's

long-term e x p o s u r e to the elements has, it

PREVIOUS PAGE: Ant Farm (Chip Lord, Hudson Marquez, and Doug Michels), MillgcRanch (detail), 1974, Amarillo.

ABOVE: Donald Judd, interior of a shed at the Chinati Foundation in Marfa.

BELOW: llya Kabakov, School Ho. 6 installation at Marfa.

is said, drastically eroded its surface; h o w e v e r , it still strikes an i m p o s i n g and poetic line against the desert sky: beautiful and tragic, not unlike the circumstances under w h i c h it w a s c o n c e i v e d . I'm told if y o u ask real nice, Marsh Enterprises w i l l escort y o u to the site. No doubt it's w o r t h the effort.

A n o t h e r private venture w o r t h undertaking is a trip to the Chinati Foundation in Marfa. A f t e r signing in, visitors are free to roam the grounds unescorted. Privately c o m m i s s i o n e d w o r k l i k e S m i t h s o n ' s Ramp a n d the h o l d i n g s of entities like the Chinati Foundation place the w o r k of celebrated artists in b u c o l i c rural settings. T h o u g h this is a far cry f r o m city, state, or f e d e r a l l y f u n d e d , p u b l i c l y a c c e s s i b l e w o r k s of art, it's a start. S u c h w o r k s prepare the eye, m o v i n g one a w a y from the l i t e r a l — a task that must be undertaken before challenging contemporary w o r k can find a permanent h o m e on the streets of old San A n t o n i o or El P a s o — o r Buda, for that matter. If permanent installations by Donald Judd,

Dan Flavin, Richard Long, Claes Oldenburg, and Coosje Van B r u g g e n aren't e n o u g h i n c e n t i v e to get o n e to Marfa, Ilya K a b a k o v ' s School No. 6 s h o u l d do the trick. K a b a k o v ' s i m p o s s i b l y creepy rendition of an abandoned Soviet schoolh o u s e seems perfectly at h o m e in Marfa's magnificently barren, almost lunar landscape.

well. Entitled Video Ring, the pair's $400,000 p i e c e , c o m m i s -

T h a n k f u l l y , one does not h a v e to be quite so industrious to enjoy public w o r k s in most major Texas metropolises. One need only ride the Houston or Dallas rail system or pass t h r o u g h a f e w of our airports to see w h a t s e v e r a l instances of w e l l - c h o s e n and w e l l - p l a c e d "design e n h a n c e m e n t " can do for banal c i v i c architecture. Dixie Friend Gay's m o s a i c m u r a l s at George B u s h Intercontinental A i r p o r t in H o u s t o n are a f i n e e x a m p l e â&#x20AC;&#x201D; r e p r e s e n t a t i o n a l , yes, but in perfect concert with s k y l i g h t s and w e l l - c o n c e i v e d terrazzo floor and c o l u m n treatments. T h e overall effect is sublime.

c o m e to expect from T h e Art G u y s .

T h e s e m i n a l Houston d u o T h e Art G u y s r e c e n t l y c o m p l e t e d an installation at George Bush Intercontinental as ABOVE: Claes Oldenburg and Coojse Van Bruggen's horseshoe at Marfa.

BELOW LEFT: Dixie Friend Gay, Houston Bayou (detail) mosaic, 2002, Houston Intercontinental Airport.

BELOW RIGHT: Dan Flavin installation at Marfa.

s i o n e d b y the C u l t u r a l A r t s C o u n c i l of

Houston/Harris

County, uses eighty television monitors and

elaborately

s e q u e n c e d D V D players and speakers to transform o n e terminal into a spectacularly i m m e r s i v e e n v i r o n m e n t . Its futuristic fagade belies the one-two, slapstick p u n c h T e x a n s h a v e Arlington-based artist, professor, and curator Benito Huerta has also b e e n quite active of late on the public art scene. He recently designed and installed w o r k in t w o light rail stations for Houston's Metro and is w o r k i n g on t w o terrazzo platforms for D F W Airport's elevated tram. Huerta w a s

also recently selected as lead artist for the Forth Worth Parks E n h a n c e m e n t Project.

In the spirit of true cultural progress—that is, dragg i n g T e x a n s k i c k i n g a n d h o l l e r i n g t o w a r d a c c e p t a n c e of imaginative c o n t e m p o r a r y p u b l i c a r t — a distinction s h o u l d be m a d e b e t w e e n token political gestures that sneak creative e x p r e s s i o n into the public realm versus the realization and maintenance of stand-alone public t r e a s u r e s — w o r k s that do not require tricky fiscal validation to c o n c e i v e and that can p r o v o k e c o n t e m p l a t i o n instead of merely distracting bored c o m m u t e r s . T h e c h a l l e n g e s A r t h o u s e p o s e s to the A u s t i n c o m m u n i t y on a regular basis are a great e x a m p l e .

Art

actions by W i l l i a m P o p e L. and Austin-based film artist Luke Savisky immediately

s p r i n g to m i n d . T h e

performative

nature of these p u b l i c w o r k s is something n e w to Texas, and p e r h a p s a sign that n o t i o n s of p r o p r i e t y are c h a n g i n g — a t least in some locales.

A n o t h e r ambitious A u s t i n public art project is set to s t r a d d l e the b o u n d a r y b e t w e e n c o n t e m p o r a r y art a n d well-dressed c i v i c boosterism: T h e Blanton M u s e u m of Art's m u c h - a n t i c i p a t e d Peter W a l k e r / M e l C h i n c o m m i s s i o n — a 72,000-square-foot

p l a z a and s o u n d

installation

poised

b e t w e e n the buildings of the m u s e u m ' s n e w complex-—is in the works, or at least on the d r a w i n g board. T h i s project represents the a b i l i t y of o n e h o m e g r o w n art i n s t i t u t i o n to e v o l v e , to present its a u d i e n c e w i t h a contemporary environment designed for c o n t e m p l a t i o n , not distraction. O n e c a n o n l y h o p e that this project c a n e n g e n d e r a h e a l t h y rivalry a m o n g our v a r i o u s m u n i c i p a l i t i e s , i n c h i n g Texas closer to realizing its expressive potential.

A N J A L I G U P T A is a freelance the editor Antonio.

of Art Lies magazine.

video

producer,

critic,

and

She lives and works in San

PUBLIC A R T IN TEXAS

dte/yj/zt' ///> and Ote/jfi REBECCA S. COHEN vintage Cadillacs planted,

Texas two-step past a s a m p l i n g of projects that address the

nose d o w n , along Interstate 40 (formerly Route 66) o u t s i d e

state's history and culture; its arts institutions that are them-

of A m a r i l l o — i s a r g u a b l y t h e q u i n t e s s e n t i a l e x a m p l e of

selves artful objects; g o v e r n m e n t - s p o n s o r e d p u b l i c art proj-

p u b l i c art in Texas. T h e cars' tail fins a p p e a r to be raised

ects;

out of the g r o u n d in a bizarre salute to p o p c u l t u r e and to

philanthropists, collectors, and artists.

Cadillac

Ranch—ten

and

the inhabitants of the state w h e r e , in 1 9 7 4 , n a t i v e son Stan-

the

contributions

of

several

of

Carol Morris Little, in A Comprehensive

the

state's

Guide

to

l e y M a r s h c o m m i s s i o n e d m e m b e r s of A n t F a r m , a S a n

Outdoor

F r a n c i s c o artists' c o l l a b o r a t i v e , to dress u p his w h e a t field

lists w o r k s f r o m A b i l e n e to W i n d t h o r s t (south of W i c h i t a

Sculpture

in Texas (University of Texas Press, 1996),

w i t h art. T h e installation is a p r i m e e x a m p l e of p u b l i c art's

Falls) and p r o v i d e s thumbnail descriptions of over 800 his-

ability to p r o m o t e the L o n e Star State's m y t h i c tales about

torical, m o d e r n , and c o n t e m p o r a r y objects. S h e w r i t e s that

larger-than-life c o w b o y s , w i l d c a t t e r s , p o l i t i c i a n s , and the

her inventory of the state's p u b l i c l y sited sculpture "is not so

like. It is joined in this e n d e a v o r by D a v i d A d i c k e s ' s sixty-

m u c h a book about art as it is a book about Texas history and

s e v e n - f o o t - t a l l statue of S a m H o u s t o n in East Texas, Bob

culture." A look at the state's m y r i a d murals and m o n u m e n t s

(Daddy-O) W a d e ' s s u p e r - s c a l e c o w b o y boots o u t s i d e a San

c o n f i r m s the o n g o i n g i m p u l s e to m e m o r i a l i z e and e d u c a t e

A n t o n i o m a l l , a central Texas w a t e r t o w e r painted to l o o k

through public art. S u c h projects also support the position of

l i k e the w o r l d ' s largest w a t e r m e l o n , and a host of o t h e r

Megan Weiler, director of A u s t i n ' s Art in Public Places office,

i c o n i c statues that, a d m i t t e d l y , sometimes threaten distinc-

w h o asserts that a vital role of p u b l i c art is to highlight and

tions b e t w e e n art and kitsch.

preserve w h a t is u n i q u e about a c o m m u n i t y .

But Cadillac

Ranch,

w h e n c o n s i d e r e d in the con-

Donald Judd, installation at Marfa.

text of c o n t e m p o r a n e o u s c o n c e p t u a l works, also represents this ever-more-urban state's aspirations to a c c u m u l a t e and

W h i l e a statue of B u d d y H o l l y stands in L u b b o c k ,

display objects, both public art and w o r k s in private institu-

A u s t i n — t h e s e l f - p r o c l a i m e d m u s i c c a p i t a l of the w o r l d —

tions, by artists of national and even international acclaim.

c h o s e to h o n o r t h e m e m o r y of S t e v i e Ray V a u g h a n . T h e

R i c h a r d Serra's s i x t y - s e v e n - f o o t - h i g h steel spiral t o w e r i n g

larger-than-life statue of Vaughan, b e l o v e d by many, stands

outside the M u s e u m of Modern Art in Fort Worth and Don-

on the shores of T o w n Lake, w h e r e joggers n o d greetings as

ald Judd's concrete cubes strewn along the West Texas land-

they pass by. A c r o s s the lake, on a p r o m i n e n t d o w n t o w n cor-

s c a p e like a row of a b a n d o n e d bunkers are t w o among m a n y

ner, A n g e l i n a Eberly prepares to fire her c a n n o n , as she d i d

e x a m p l e s of w o r k s p r o v e n to lure c u l t u r a l tourists f r o m

in 1842 against a band of Texas Rangers w h o h a d c o m e to

around the w o r l d to Texas. O n c e here, visitors discover there

steal t h e state's a r c h i v e s a w a y f r o m A u s t i n . D e s p i t e l o c a l

is, quite literally, a great deal of ground that must be covered

c o n c e r n s about artist/cartoonist Larry O l i p h a n t ' s b o s o m y

to gain an o v e r v i e w of the state's public art projects.

bronze rendition of Eberly, m e m b e r s of Capital A r e a Statues,

During the u p c o m i n g P u b l i c Art N e t w o r k precon-

a group of p u b l i c art enthusiasts f o u n d e d by three A u s t i n -

ference p r e c e d i n g this year's A m e r i c a n s for the Arts annual

based writers and a m u s i c i a n , w a s able to g u i d e the project

gathering (June 2005 in Austin), Texas Art in Public Places

through the fray. T h e A r t s C o u n c i l of Fort Worth and Tarrant

administrators p r o m i s e a l i v e l y virtual " w a l t z across T e x a s "

C o u n t y c o m m i s s i o n e d D o n a l d L i p s k i to create a s c u l p t u r e

to bring conferees u p to date. W h a t f o l l o w s here is a q u i c k

for the city's n e w c o n v e n t i o n center. Martha Peters, the c o u n -

cil's p u b l i c art director, says artists s u c h as Lipski selected

are free of charge. T h e Nasher S c u l p t u r e Center in Dallas, an

from outside the state usually m a k e an effort to c o n n e c t w i t h

urban oasis designed by R e n z o Piano and l a n d s c a p e archi-

the local culture. W h e n Lipski's original p l a n to m a k e a giant

tect Peter Walker, a l l o w s the public limited visual access to

star u s i n g deer antlers w a s n i x e d , lest the p u b l i c think the

the gardens, thanks to the see-through design of the building,

a n i m a l s h a d b e e n k i l l e d in the n a m e of art, the artist used

although there is a charge for entering the m u s e u m . Works in

S t e t s o n s i n s t e a d , m a n y d o n a t e d b y Fort Worth's c i t i z e n s ,

the garden i n c l u d e Richard Serra's fifty-ton My Curves

along w i t h c o l o r f u l stories about the f a m i l y m e m b e r s w h o

Not Mad

had o w n e d them.

Crowd.

If these and other sculptures p r o v i d e a snapshot of h e r o e s past a n d

present, murals offer multiple

frames

and M a g d a l e n a A b a k a n o w i c z ' s d r a m a t i c

Are

Bronze

O t h e r large-scale w o r k s from the Ray and Patsy

Nasher collection are d i s p l a y e d in Northpark S h o p p i n g Center and other c o m m e r c i a l projects d e v e l o p e d by Nasher.

r e c o u n t i n g historical and cultural events. W h i l e murals have

T h r o u g h o u t the state, philanthropists and first-rate

b e e n c o m m i s s i o n e d (and h a v e a p p e a r e d s p o n t a n e o u s l y ) in

c o l l e c t o r s — b o t h i n d i v i d u a l s , s u c h as Nasher and f e l l o w Dal-

cities t h r o u g h o u t the state, El Paso boasts o v e r 100 d o c u -

lasite and d e v e l o p e r Trammell Crow, and b u s i n e s s e s — h a v e

m e n t e d e x a m p l e s , m o s t c h r o n i c l e d in Colors

Desert

m a d e privately o w n e d w o r k s available to the public. "I want

of El Paso (Texas Western Press, Univer-

to see the art b e c o m i n g a f u n d a m e n t a l catalyst in people's

sity of T e x a s at El P a s o , 1 9 9 7 ) by M i g u e l Juarez. T h e s e

l i v e s , " Nasher has said, p o i n t i n g out that p e o p l e are more

Walls:

The Murals

on

i n c l u d e a W P A vintage mural in the U.S. Courthouse by the

likely to stumble across his collection at the mall than in a

late El Paso artist Tom Lea and a great m a n y w o r k s painted

m u s e u m . T h e T r a m m e l l a n d Margaret C r o w C o l l e c t i o n of

by H i s p a n i c artists in the M e x i c a n tradition.

A s i a n Art is located in an office b u i l d i n g across the street

A n o t h e r book, m y o w n Guide

Muse-

from the Nasher M u s e u m . A n adjoining office b u i l d i n g pro-

ums (University of Texas Press, 2004), lists more than 100

m o t e s s e l f - g u i d e d s c u l p t u r e tours w i t h an a c c o m p a n y i n g

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

which—like

b r o c h u r e . T h e Hall O f f i c e Park, h e a d q u a r t e r s of the Hall

Marfa's Chinati F o u n d a t i o n and Houston's Art Car M u s e u m

Financial Group, features the Texas S c u l p t u r e Garden, a stel-

to Texas Art

w i t h its "chrome-plated George-Jetson-meets-Mad-Max exte-

lar c o l l e c t i o n of more than thirty w o r k s by Texans s u c h as

r i o r " — a r e r e p o s i t o r i e s for w o r k s of art a n d artful projects

James S u r l s , F r a n c e s Bagley, T o m Orr, Harry Geffert, a n d

themselves. T h e Lillie and Roy Hugh C u l l e n S c u l p t u r e Gar-

Joseph Havel as the centerpiece of its d e v e l o p m e n t . Indoor

d e n , an a n n e x of H o u s t o n ' s M u s e u m of F i n e A r t s , w a s

designed by sculptor Isamu N o g u c h i in 1986 to p r o v i d e an

and outdoor exhibitions are available to those w h o office in

outdoor setting for sculptures o w n e d by the m u s e u m , includ-

the area and are o p e n to the p u b l i c during business hours.

ing w o r k s by Louise Bourgeois, A l b e r t o Giacometti, Aristide

In Fort Worth, the Burnett F o u n d a t i o n , a m a j o r

M a i l l o l , Henri M a t i s s e , A u g u s t e R o d i n , Joel S h a p i r o , a n d

source of support for the city's m u s e u m s , installed Jonathan

^

D a v i d S m i t h , a m o n g others. H o u s t o n is also h o m e to the

Borofsky's Man With Briefcase—a

%

fifty-foot-tall,

twenty-two-

R o t h k o C h a p e l a n d the B y z a n t i n e C h a p e l , c o n t e m p l a t i v e

f o o t - w i d e v e r s i o n of the artist's f a m i l i a r i m a g e — i n d o w n -

f

e n v i r o n m e n t s c o n c e i v e d and initially f u n d e d by d o y e n n e of

t o w n Burnett Park. A n o t h e r s c u l p t u r e , A l e x a n d e r Calder's

1

the arts D o m i n i q u e d e M e n i l . A t Project R o w Houses, also in

Eagle, had been on long-term loan to the city through 2001,

f

H o u s t o n , s e v e n r u n d o w n T h i r d Ward h o u s e s h a v e b e e n

w h e n the o w n e r sold the piece and had it r e m o v e d from its

|

t r a n s f o r m e d into i n s t a l l a t i o n sites for c h a n g i n g w o r k s by

d o w n t o w n location. Immediately, cries of protest arose from

S

local artists and those from around the country. Exhibitions

c i t i z e n s w h o had c o m e to regard the abstract s c u l p t u r e — a

z

w o r k that had previously garnered m i x e d r e v i e w s — a s their

f

LEFT TO RIGHT: Richard Serra, My Curves ate Mad, 1987, the Raymond and Patsy Collection,

o w n . S o m e in Fort Worth theorize that the flap over Eagle

J

Nasher Sculpture Center, Dallas. Mike Mandel, Team Spirit, 2003, mosaic mural (detail) at

s e r v e d as a c a t a l y s t for p a s s a g e of the c i t y ' s art in p u b l i c

|

Texas Tech University, Lubbock. Patrick Dougherty, Untitled, 1996 at Buffalo Bayou Art Park.

places ordinance shortly thereafter. Today, 2 percent of the

f,

OPPOSITE PAGE LEFT TO RIGHT: Plaid art car at rest following Houston's annual parade.

cost of capital projects in Fort Worth is set aside for art, a s u m

f

Terry Allen, Header, 2002, at Texas Tech University, Lubbock. Maillol Gragg's work in the

a d d e d to rather than d e d u c t e d f r o m the project b u d g e t .

g

Lillie and Hugh Ray Sculpture Garden, Museum of Fine Arts, Houston.

Artists are n o w being selected to work w i t h consultants on a

%

m a s t e r p l a n for an e i g h t - a n d - o n e - h a l f - m i l e p a r k w a y and

a

"Trinity U p t o w n , " an extraordinary effort to d o u b l e the size

p u b l i c art p r o g r a m i n v o l v i n g m o r e than t h i r t y l o c a l a n d

of d o w n t o w n over the next forty years, creating waterfront

international artists, w h o s e w o r k s w i l l be featured that air-

a c c e s s to an urban lake, c a n a l s , restaurants, h o u s i n g , a n d

port's i n t e r n a t i o n a l T e r m i n a l D a n d t e r m i n a l S k y l i n k sta-

r e c r e a t i o n a l a c t i v i t i e s . T h e i r i n v o l v e m e n t in c i v i c d e s i g n

tions. Artists i n c l u d e Sol Lewitt, Dennis O p p e n h e i m , and, of

seems to be something of a trend in Texas, w i t h artists' input

course, Terry A l l e n . Public art projects are also in the w o r k s

also being solicited for the San A n t o n i o River Improvement

for t w o n e w terminals and a parking facility at the San A n t o -

Project and the D o w n t o w n A u s t i n Great Streets Master Plan.

nio Airport. T h e Dallas A r e a Rapid Transit system not o n l y

A u s t i n ' s p l a n n i n g d o c u m e n t lists the i n c l u s i o n of p u b l i c art

m a p s t r a v e l e r s ' r o u t e s to art a n d c u l t u r a l c e n t e r s , it a l s o i n v o l v e s the neighbors of each n e w facility in the design and

as a core value.

A u s t i n ' s percent-for-arts program, the first in the

selection of art for their local station.

state, is n o w t w e n t y years old. Dallas, Houston, San A n t o n i o ,

Finally, Texas also e n j o y s an assortment of p u b l i c

C o r p u s Christi, and El Paso also have active city-sponsored

art that has been initiated by artists t h e m s e l v e s . In Houston,

p u b l i c art programs, as do a n u m b e r of s m a l l e r cities a n d

B u f f a l o B a y o u ArtPark is run by artists c o m m i t t e d to p l a c i n g

towns. Several of the state's airport and rapid transit author-

temporary p u b l i c art in o p e n spaces t h r o u g h o u t the city and

ities along w i t h universities h a v e set aside a percentage of

Harris C o u n t y . T h e c i t y ' s a n n u a l A r t Car P a r a d e , w h i c h

their capital budgets for art. T h e recently activated program

d r a w s entries from across the country, surely qualifies as per-

at Texas Tech University s p e n d s 1 percent of a p p r o v e d con-

f o r m a n c e art and has also led to the creation of a plethora of

struction projects over $500,000 on art, and roughly half a

objects, s o m e of w h i c h remain parked in front of the Art Car

b i l l i o n dollars has been a u t h o r i z e d for c o n s t r u c t i o n at the

M u s e u m throughout the year. A n d then there is the

school's Lubbock, El Paso, A m a r i l l o , and O d e s s a c a m p u s e s

Show. T h i s maze-like, m o s t l y exterior e n v i r o n m e n t located

in the last half d o z e n years. Cecilia Carter B r o w n e , the uni-

on a tenth of an acre in a working-class n e i g h b o r h o o d , w a s

versity's public art manager, says " W e are pioneering a w h o l e

created by a postal w o r k e r n a m e d Jefferson Davis M c K i s s a c k

n e w c u l t u r a l l a n d s c a p e . " W o r k s d o t t i n g that

landscape

to extol the virtues of the orange, his favorite fruit. It is m a d e

by Terry

primarily of materials he s c a v e n g e d from t h r o u g h o u t the city

of Ideas by Tom Otterness, bronze sculp-

and feels like a private a m u s e m e n t park, from its brick and

tures i n c o r p o r a t i n g b o o k s and letters, a p p r o p r i a t e l y sited

tile w a l k w a y s and brightly painted w a g o n w h e e l railings to

b e t w e e n the library and student u n i o n . Both artists take a

the striped umbrellas and a w n i n g s above. W h e n the

not-so-subtle p o k e at a c a d e m i a and test the limits of toler-

Show o p e n e d to the p u b l i c in 1 9 7 9 , M c K i s s a c k r e p o r t e d l y

ance from local c o n s e r v a t i v e s . A w o r k by Deborah Butter-

p r e d i c t e d that 90 p e r c e n t of the p e o p l e in A m e r i c a w o u l d

field and c o m m i s s i o n s by Jesus M o r a l e s , Shan Shan Sheng.

want to visit his creation. T h e untrained artist's e x p e c t a t i o n s

and Farley Tobin are already in the w o r k s .

w e n t u n p r o v e n during his lifetime, but his sentiment surely

already i n c l u d e objects s u c h as The Read Reader A l l e n and Tornado

Terry A l l e n also engages travelers passing through the H o u s t o n airport w i t h a s c u l p t u r a l e n v i r o n m e n t c a l l e d Countree

Music,

Orange

Orange

r e p r e s e n t s the q u i n t e s s e n t i a l o p t i m i s m i n h e r e n t in t h e creation of p u b l i c art projects in Texas to this day.

w h i c h i n c l u d e s a native tree, cast in bronze,

and an original

soundtrack

written

for the p i e c e

and

recorded by David Byrne and Joe Ely. January 2005 marked

R E B E C C A S. C O H E N , former art dealer and gallery owner, is a freelance writer based in Austin.

Texas. In October.

2004.

v i c e s E x p a n s i o n Program at B u s h Intercontinental Airport,

her first book w a s published: Art G u i d e Texas: M u s e u m s . Art Centers, A l t e r n a t i v e S p a c e s & Nonprofit Galleries (University

c o u r t e s y of the C u l t u r a l A r t s C o u n c i l of Houston/Harris

of Texas

the u n v e i l i n g of additional w o r k s for the International Ser-

Country. A d o z e n artists from Texas and b e y o n d â&#x20AC;&#x201D; i n c l u d i n g T h e Art G u y s (Michael Galbreth and Jack Massing), Leslie Elkins, Sandra Fiedorek, Bill F i t z G i b b o n s , Jim H i r s c h f i e l d and S o n y a Ishii, a n d B e n W o i t e n a â&#x20AC;&#x201D; e m p l o y light, f a b r i c , beads, glass, and steel to e n h a n c e the e x p e r i e n c e s of travelers to and through Houston. T h e Dallas Fort Worth Airport, not to be o u t d o n e , has embarked on a multi-million-dollar

Press],

T H E GATES JOURNAL REGINA M. F L A N A G A N

A s I w r i t e this, The Gates, Central City, 1979-2005

York

The Gates w e r e o v e r l a i d on an a l r e a d y d e s i g n e d

is c o m i n g d o w n . I imagine somber w o r k e r s

e n v i r o n m e n t â&#x20AC;&#x201D; C e n t r a l Park, c o n c e i v e d by the f o u n d e r of the

Park, New

striking the set, d i s a s s e m b l i n g a creation w h o s e materials

p r o f e s s i o n of l a n d s c a p e architecture, F r e d e r i c k L a w O l m -

w i l l be entirely r e c y c l e d . T h i s e p h e m e r a l w o r k is at the end

s t e d â&#x20AC;&#x201D; a n d o f f e r e d an e x c h a n g e b e t w e e n t w o artists at the

of its sixteen-day existence and w i l l n o w live on in legend

peak of their creative powers. Olmsted's plans for the park,

and memory. Christo, its creator, along w i t h his collaborator

p r o d u c e d in collaboration w i t h Calvert Vaux in 1858, advo-

and s p o u s e Jeanne-Claude, is fond of the phrase " o n c e u p o n

cated large e x p a n s e s of natural beauty that w o u l d stand as

a time." He i m a g i n e s that p e o p l e w i l l recall that o n c e u p o n a

the "antithesis of urban c o n d i t i o n s . " T h e essential elements

time there w e r e The Gates in Central Park.

of the Greensward Plan w e r e w o o d s to screen the surround-

W h e n I heard that artists' plans w e r e finally g i v e n

50

ing city from the park; tranquil, open, pastoral m e a d o w s ; and

t h e g r e e n light in 2003, t h r o u g h the a d v o c a c y of M a y o r

passages of strongly contrasting scenery, from r o c k - s t r e w n

M i c h a e l R. B l o o m b e r g , I k n e w I w o u l d h a v e to visit N e w

surfaces to the softness and s i m p l i c i t y of o p e n l a w n s . T h e

York City. T h e transience of Christo's w o r k distinguishes it

park w o u l d p r o v i d e a place for an e v e n i n g p r o m e n a d e to take

from that of artists s u c h as M i c h a e l Heizer and James Turrell,

a d v a n t a g e of the fresh air, so n e c e s s a r y in the c r o w d e d ,

w h o m a k e colossal, p e r m a n e n t alterations to the land. For

smoggy, industrial city of the nineteenth century. In 1894,

me, Christo's w o r k has a l w a y s f u n c t i o n e d more as a cerebral

O l m s t e d elaborated u p o n the positive p s y c h o l o g i c a l effect of

c o n s t r u c t or an interesting set of i d e a s than as a p h y s i c a l

pastoral s c e n e r y , n o t i n g that it " o p e r a t e s in the m a i n by

thing. L a c k i n g first-hand e x p e r i e n c e of it, I h a v e had to b u i l d

i n d u c i n g a change of mental bends or m o o d s . . . more or less

it in m y i m a g i n a t i o n from Christo's e x t e n s i v e p r e l i m i n a r y

in a d i r e c t i o n from a materialistic t o w a r d a p o e t i c m o o d .

d r a w i n g s a n d the p h o t o g r a p h i c d o c u m e n t a t i o n that is the

T h r o u g h these changes of m o o d , the w h o l e h u m a n system is

residue of his installations.

affected h e a l t h f u l l y . "

c e i v i n g the w o r k is w h a t y o u w i l l get out of it. The Gates' bill o w i n g curtains snap like sails in the w i n d . T h e saffron gates are visible in all directions through the trees and our curiosity d r a w s us forward.

We enter at the Grand A r m y Plaza at the s o u t h end of the park, w h e r e The Gates c l o s e l y f o l l o w the n a r r o w paths through a terrain of r o c k y ravines. T h e y read as v i v i d c o l o r and soft s h a p e s against the r o c k o u t c r o p p i n g s and skeletal trees. We p r o c e e d t o w a r d the w i d e p r o m e n a d e of the M a l l lined with mature oaks a n d elms. The Gates m a r c h off to the left and right u n d e r the c a n o p y of the trees. T h e y d a n c e in the w i n d , and s h a d o w y s i l h o u e t t e s of tree l i m b s r i p p l e 4iWl*Mfi)

across the backlit fabric. W i t h i n the sixteen-foot-tall orange plastic frames of The Gates, the fabric acts like a theatrical scrim, m a g n i f y i n g the l a n d s c a p e .

D u r i n g the t w e n t i e t h c e n t u r y , w h i l e o t h e r parks d e v e l o p e d e x t e n s i v e recreation facilities and p l a y i n g fields for organized sports, Central Park retained its e m p h a s i s on the pastoral landscape. But by 1 9 8 1 , w h e n the Parks Department first considered Christo's proposal, Central Park w a s in derelict c o n d i t i o n . Christo's plans w e r e r e j e c t e d , w i t h the e x p l a n a t i o n that the i n s t a l l a t i o n w o u l d be " i n the w r o n g place and the w r o n g time and in the w r o n g scale." T h e Parks Department said they did not w a n t to attract c r o w d s to the park or set a precedent by granting a permit for this t y p e of large-scale i n s t a l l a t i o n . O v e r t w e n t y y e a r s later, t h r o u g h the efforts of the Central Park C o n s e r v a n c y a n d

Mayor

Bloomberg, it w a s time for Christo's proposal to be reconsidered. D e p u t y M a y o r Patricia Harris, w h o w o r k e d w i t h the artists, recalled that " N e w York w a s still very raw after the terrorist attack of September 1 1 , 2001, but w e w e r e trying to bring d y n a m i c events and positive energy back to the city."

P h i l o s o p h e r N i c o l a s Bourriaud says that the most p r e s s i n g thing in p o s t i n d u s t r i a l s o c i e t i e s is no longer the

O u r p r o c e s s i o n c o n t i n u e s a r o u n d the c o r n e r to a

e m a n c i p a t i o n of i n d i v i d u a l s but the freeing-up of interhu-

double r o w of gates, s i d e by side along the south edge of the

m a n c o m m u n i c a t i o n s â&#x20AC;&#x201D; t h e e m a n c i p a t i o n of e x p e r i e n c e . In

72nd Street Transverse. T h e y create a z o n e of g l o w i n g color

this sense, he asserts, w e can talk about a c o m m u n i t y effect

that hovers near the g r o u n d and w a s h e s over us. T h i s lumi-

in contemporary art. Bourriaud proposes the possibility of a

n o u s , c h a r g e d a t m o s p h e r e is a f f e c t i n g p e o p l e ' s spirits; the

relational art that functions in a social context rather than in

m o o d is f e s t i v e , a n d p e o p l e s o c i a l i z e u n d e r the g o l d e n

a private, s y m b o l i c space. A l t h o u g h all w o r k s of art encour-

canopy.

age sociability to s o m e extent, relational art creates a special

Christo p r e v i s u a l i z e d The Gates accurately through

perceptual space (or aura, as Bourriaud terms it) that invites

his drawings; as I peer through m y camera's v i e w f i n d e r . I see

the v i e w e r / p a r t i c i p a n t to c o m p l e m e n t it. O n e m a y ask of

his d r a w i n g s c o m e to life before me. But I find m y s e l f w o n -

s u c h work, "Does it permit me to enter into dialogue?" A l l

dering if he m a d e any a d j u s t m e n t s from his f u l l y r e n d e r e d

p u b l i c art has this potential, a n d c e r t a i n l y C h r i s t o a n d

d r a w i n g s to the final installation. W h a t surprised h i m about

Jeanne-Claude's w o r k seems to fit Bourriaud's model.

the installation itself? Christo r e s p o n d e d to m y question in a

The Gates w r a p participants in a linear p a s s a g e w a y

recent i n t e r v i e w : " T h e d r a w i n g s c a n n o t m a t c h reality, a n d

leading them through the landscape; they are inside the con-

the d y n a m i c of the fabric c o u l d not b e i m a g i n e d . " He also

tainer. T h i s is a very different c o n d i t i o n from m a n y of the

d i d not foresee the p o w e r of the poles; their color and strong

pair's other works. With the Wrapped

presence w e r e not in his d r a w i n g s .

Reichstag

1971-95

in

B e r l i n , G e r m a n y , for e x a m p l e , the o b s e r v e r is o u t s i d e the

T w o days later, I w a l k in the northern portion of the

w o r k , p e r c e i v i n g a n d e x p e r i e n c i n g its v o l u m e t r i c d i m e n -

park after a s i x - i n c h s n o w f a l l . T h e s k y is overcast and the saf-

sions and the imagined v o i d inside. S o m e t i m e s their w o r k is

fron fabric of The Gates m a k e s o p a q u e s h a p e s against the

best assimilated from a great distance or height, as w i t h Sur-

s n o w and the b l a c k outlines of trees. O c c a s i o n a l l y , a p u f f of

in Florida's B i s c a y n e Bay. But in

w i n d sends them dancing. I find m y s e l f w a l k i n g s l o w l y and

Central Park, v i e w e r s are part of the c o m p o s i t i o n , c o m p l e t i n g

quietly; in fact, e v e r y o n e is p r o c e e d i n g the s a m e w a y , in a

the w o r k in an elemental w a y and constructing its content

dreamy state. T h e park has a subtle character, different from

rounded

Islands

1980-83

and m e a n i n g on the spot. In this regard, The Gates is most

Saturday, w h e n it w a s c r o w d e d and The Gates w e r e more of

similar in scale, scope, and effect to w o r k s s u c h as

Running

a s p e c t a c l e . T o n y Hiss, w h o w r i t e s about O l m s t e d ' s parks,

and

says this d r e a m y state of m i n d leads to " s p o n t a n e o u s percep-

Fence 1972-76,

Sonoma

The Umbrellas,

Japan-USA,

and Marin

Counties,

California

1984-91.

tion." T h i s k i n d of a w a r e n e s s can o n l y o c c u r w h e n o n e feels

I arrive at The Gates at nine o ' c l o c k on a c h i l l y Sat-

r e l a x e d a n d alert, w i t h the s e n s a t i o n that t h e r e is t i m e

urday morning. It is w i n d y w i t h a clear b l u e sky and temper-

e n o u g h to savor all the sights and s o u n d s c o m i n g in. But Hiss

atures in the twenties. T h e c h a l l e n g i n g w e a t h e r asks us for a

n o t e s that w e are o f t e n d i s t r a c t e d a n d h a v e to

commitment; it is o b v i o u s that today, w h a t y o u put into per-

w h e t h e r to k e e p our attention on our o w n thoughts and p l a n s

choose

or accept w h a t our s u r r o u n d i n g s h a v e to offer u s — t h a t is, w h e t h e r to e x p e r i e n c e ourselves or w h a t is around us. That c h o i c e — m a d e once or m a n y t i m e s — d e t e r m i n e s h o w w e l l w e get to k n o w a place and w h e t h e r w e ever get the f u l l benefit of the e x p e r i e n c e s it offers.

A w e e k after m y visit to Central Park, The Gates are most alive in m y m e m o r y as a series of sensations of color, light, t e m p e r a t u r e , w i n d , a n d m o v e m e n t . F o r e m o s t is the park's l a n d s c a p e itself, i n c l u d i n g the s c u l p t u r a l dark outlines of trees and the m a s s i v e rock outcrops that Christo and Jeanne-Claude framed and amplified. 1 recall h o w the luminous c a n o p y of The Gates formed a sheltered corridor from w h i c h to perceive different vistas and c o m p o s i t i o n s throughout the park.

T h e social r e l a t i o n s h i p s p r o d u c e d by the experie n c e w e r e a s e c o n d a r y effect. T h e c h a l l e n g i n g w e a t h e r on Saturday gave us a sense of embarking u p o n an adventure, w i t h the c a m a r a d e r i e that results w h e n p e o p l e e x p e r i e n c e i n c l e m e n t w e a t h e r together. The Gates b r o u g h t a f e s t i v e sociability to the park, probably not unlike other events. But their magical quietness on Monday, after the s n o w f a l l , had the most p r o f o u n d effect; they s e e m e d to i n d u c e a state of m i n d that encouraged civility and social connection, as w e l l as revealing N e w York City as a place w i t h i n nature and the landscape.

I b e l i e v e that O l m s t e d might have

endorsed

The Gates, w h i c h the artists intended as a celebration of the p r o c e s s i o n a l , c e r e m o n i a l w a l k w a y s of O l m s t e d ' s p a r k .

In our s p e e d e d - u p t w e n t y - f i r s t c e n t u r y , the p a s s i v e and unstructured recreation of a s i m p l e w a l k through this nineteenth-century park that w a s encouraged by The Gates prov i d e d an antidote to the stresses of present urban life that often disconnect us from nature and each other.

R E G I N A M . F L A N A G A N , photographer landscape

architect

intersection

of public

environmental

Jeanne-Claude and Christo strolling through Central Park following a major snow storm.

and

in St. Paul, Minnesota,

associate

writes about

art and design with social

the

and

concerns.

The Gates Panel Report Eleanor

Heartney Art, Democracy and Public Space: The Christo

leanne-Claude

Effect, an all-day

symposium

AICA/USA, the American section of the International Association,

and

organized

by

Art Critics

took place February 25, 2005, in New York City,

three days before the dismantling

of The Gates. Artists,

schol-

Harper, and critics Michael Kimmelman and Katy Siegel took on the thorny question

"Is it art?" They discussed Christo's

history,

evolution

the pair's

into

media

superstars,

early and

whether their work represents a political conversation. An artist panel—Jeff

Koons, Tony Oursler, Janet Cardiff, and

Luchezar

ars, critics, and architects weighed in on the impact and value of

Boyadjiev—examined

The Gates in relation to their own proj-

the Christo's work. The tone was generally celebratory,

ects. The architecture

panel—architects

on occasion dissenting

voices raised intriguing

Have Christo and Jeanne-Claude

though

invented

the ulti-

mate democratic art, or do their projects reveal a streak of totalitarianism? Is there a contradiction an artist devoted to unauthorized tics, and the pair's ences

and

mechanisms

public

current wide-ranging officials?

of art criticism

this why art professionals

Do they by appealing

and leftist

panel

art of

sparked by Woods's asser-

A midday interlude

presented

scenes from a film in

process on The Gates by the documentarian

Albert

Maysles.

simply

Danto and art historian

bypass

the

to the "people"?

their

of capitalism or

Is by

simply

of Christo

Tom McDonough

Irving Sandler on whether

if there is a contradiction agreed

between

these two goals.

and (They

not).

Further information

on the panel can be obtained from

www.aicausa.org.

scholar

and Paula

Christo's

work represents "art for the ages" or "art of the moment"

website:

publicity?

composed

Jonathan Fineberg, art historians

contentious,

tion that Christo's works simply reinforce the status quo.

The symposium ended with a discussion by Nation critic Arthur

to take a profit? Are they revolutionaries An opening

poli-

tend to be more testy about

masters of the contemporary

Van Valken-

acceptance by audi-

work? Do they really subvert the presumptions refusing

Max Protetch—proved

between Christo's origins as interventions

Michael

burgh and Lebbeus Woods, critic Joseph Giovannini, and dealer

questions:

Eleanor Heartney is copresident of AICA/USA.

theAICA

T H E HIAWATHA LINE GULGUN KAYIM

On June 26, 2004, the future arrived in Minneapolis in the form of sleek, new, hlue and yellow light rail transit trains. T h e date marked the partial opening of the n e w Hiawatha Light Rail Transit (LRT) line and the return of rail service almost fifty years after the last streetcar operated on the city's streets. Officials at the opening ceremonies had great cause for celebration: T h e project w a s completed in time and on budget, it represents a vital connecting artery in the region's plans for e c o n o m i c d e v e l o p m e n t , and it has received nationwide recognition for the beauty of its individually designed stations.

Light rail travel is (usually) timely, efficient, easy to negotiate, and free from traffic jams, fumes, and parking problems. Increasingly viewed by public officials and urban planners as a way to foster future economic development in neglected urban centers, light rail is perceived as a way to reshape American cities. According to a 2002 study by the American Public Transportation Association, rail ridership increased by more than a half billion passengers and the number of rail systems nationwide grew by nearly 50 percent from thirty-six in 1990 to fifty-four in 2002. Currently, forty-six new rail systems are planned or in development, w h i c h w o u l d increase the total to 100. In addition. Congress has authorized f u n d i n g for additional rail service, w h i c h c o u l d cause the number of systems to d o u b l e during the next decade.

M i n n e a p o l i s c a u g h t the light rail w a v e f i v e years ago, w h e n design development was initiated for the Hiawatha Light Rail Corridor. Groundbreaking for the new system began in January 2001, and the partially completed line opened last summer connecting midtown to d o w n t o w n Minneapolis. Full service was added December 4, 2004, completing the line and connecting d o w n t o w n to the Mall of America and the airport. From the outset, the Hiawatha line has allayed its critics. It has exceeded ridership projections by 96 percent and proven itself clean, safe, quiet, easy to use, and environmentally friendly.

T h e line's success also extends to its aesthetic appeal and the abundance of public artwork adorning its sev-

enteen stations. It w o n the Federal H i g h w a y A d m i n i s t r a tion's 2004 Excellence in Design Award for station design.

Locally, LRT users have expressed appreciation for the artwork, even contacting individual artists to thank them for their work. "I think the artwork is all w o n d e r f u l , " c o m mented Joy Asper, an LRT regular. "The 38th and 50th [stations] are my favorite because they have the most [artwork]."

ABOVE: Deborah Mersky's railings for the 50th Street Station, 2004.

BELOW: Andrew Leicester's brick mosaics adorn a form reminiscent of the nearby historic Stone Arch Bridge, 2004.

quilt of n e i g h b o r h o o d s w i t h distinct identities," she observed, making them attractive destinations for LRT riders. This perspective was also important to Steve Durrant, director of planning and urban development at URS Corporation, hired by the Minnesota Department of Transportation to manage the Hiawatha project. He proposed that leading M i d w e s t architecture firms team with e x p e r i e n c e d local public artists to create schematic designs for each station; this w o u l d ensure diversity in the architectural character of each station.

54

Minneapolis newcomer Rolph Ryan's observations are typical of many: "I really like the airport photographs. I saw them the moment I arrived in Minneapolis; it made me feel good about the city."

Riding on the Hiawatha LRT is an eye-opening experience, influenced by one's mood, timeframe for travel, weather conditions, and fellow passengers. Light rail both contracts and expands the city, opening the urban traveler up to n e w environments, back alleyways, and neighborhoods.

M o v i n g passengers easily through unfamiliar landscapes, a w a y from their usual p a t h w a y s , LRT opens up w h o l e swaths of the city, previously untraversed. At the same time, LRT compresses the city into a compact, manageable continuum. Trains and stations are the functional modes of travel; the artwork adorning the lines mediates that experience.

The public artwork along the Hiawatha line serves many functions, reflecting the wishes of nearby communities, their histories, identities, and hopes for the future. Jennifer Lovaasen, the Metropolitan Council's communications and outreach director, understood from the beginning that the success of the Hiawatha project depended on local buyin. "If you don't treat people w e l l w h o live along the line, they w i l l not ride it," she said. It was clear to Lovaasen that nearby communities wanted station design and artwork that reflected the unique character of their neighborhoods. " T h e artwork design was to s h o w that Minneapolis is a patchwork

Five Minneapolis architecture firms teamed with local artists Tom Rose, Karen Wirth, Seitu Jones, Brad Kaspari, and Geof Warner to formulate designs responding to the characteristics and context of each station site. Soliciting community input, the teams created a menu of opportunities identifying optimum artwork characteristics and placement. T h i s menu formed the basis for the final artist c o m m i s s i o n s . Here the limitations of the design process were revealed, as the four originating artists were barred from actually creating artwork for the Hiawatha system because of a legal interpretation of federal conflict-of-interest rules regulating projects receiving federal funding.

Instead, the r e c o m m e n d a t i o n s were handed over to the Hiawatha Public Art and Design Committee, appointed by the Metropolitan Council to provide oversight for the line's public art and design program. The $715.3 million line was constructed through a design/build process that a l l o w e d construction to begin prior to completion of the system's total design. Also, a new set of artists was selected by the Public Art Committee to design and install artwork for the system, with a budget of $2.5 million.

T h e Hiawatha LRT line features the w o r k of twenty-four public artists w h o s e work is diverse in form and expression. T h e y i n c l u d e nationally and locally k n o w n artists such as Cliff Garten, Dick Elliot, Janet Lofquist, A l d o Moroni, A n d r e w Leicester, Deborah Mersky, Penny Rakoff, ABOVE: Detail of Janet Lofquist's stone seating adjacent to the VA Medical Center Station, 2004.

BELOW LEFT: Workers installing Chris Faust's photo murals at the Lindbergh Terminal Station, Minneapolis-St. Paul International Airport, 2004.

BELOW RIGHT: Deborah Mersky's laser cut wind screen at the 38th Street Station, 2004.

Two of Janet Zweig's 39 interactive kiosks are located at the Government Plaza Station, 2004.

Joann Verburg, and Janet Z w e i g . Art a b o u n d s at stations such as 38th Street, w h i c h features the work of four different artists. Others are moderately tempered, but no less striking, w i t h t h e w o r k of j u s t t w o a r t i s t s . T h e D o w n t o w n East/Metrodome Plaza, for example is dominated by graceful brick-patterned arches created by Leicester and the interactive kiosks of Zweig.

I

s <1

3

i

Zweig's work, along with that of Joann Verburg and Dick Elliot, can be seen at many stations along the line.

T h e s e artists, w o r k i n g respectively in interactive media, glass, and brick, provide visual and experiential continuity from station to station. Verburg's photographic images are site specific. Encased in glass and installed in windscreens, canopies, and elevators, they respond thematically to the natural topographies of five stations. Although thematically disparate, the pieces work together, sharing a common color palate. Similarly, Elliot's earth-toned brick pavers are unified by color. Installed in five station platforms, each is distinctly designed, inspired by patterns found in nearby communities.

Zweig's work is clearly the backbone of the Hiawatha public art collection. Installed in eleven of the seventeen stations, Small Kindnesses, Weather Permitting provides a narrative of Minnesota, expanding concepts of the local environment through the visions of a hundred artists working in a broad range of media. The title plays on Minnesotans' penchant for talking about the weather and on their celebrated disposition: "Minnesota nice." T h e interactive artwork comprises thirty-nine elegantly designed steel kiosks mounted at viewing height onto structural beams inside or adjacent to station shelters. Designed both to blend in visually with the line's system-wide functional units and to draw the viewer's attention, the artworks e m p l o y eleven discreet and w h i m s i c a l designs—a revolving snow globe, a pinball machine, a doorbell—to accommodate a collection of short audio and video performances created by local performance artists, writers, and film makers. Present at all stations from d o w n t o w n

Nicollet Mall to Fort Snelling, the artwork is both contained and expansive, allowing the viewer an infinite variety of formats and combinations in its 1 1 4 audio and 78 video pieces.

The idea to create interactive and system-wide artwork can be attributed to the foresight of David A l l e n , public art program manager for Metro Transit, and members of the Public Art and Design Committee, chaired by Joan Mondale.

Under A l l e n ' s g u i d a n c e , the c o m m i t t e e — c o m p o s e d of artists, art professionals, and civic and business l e a d e r s — was responsible for shaping the guidelines provided by conceptual design teams and community groups into a coherent program. They came up with recommendations that served as a blueprint for overall artwork p l a c e m e n t , theme, and media. This information provided the basis for artist solicitation and subsequent commissions, creating the springboard from w h i c h commissioned artists could proceed. Said Mondale, "It wasn't a dictatorship. We were open; everybody had an eye. We wanted the very best and something that fit. We're saying to people w h o ride the line, 'you're important."' Even though, as A l l e n observed, "it didn't make sense to the comm u n i t y to bring yet another artist into the p r o c e s s , " the results of speak for themselves. "I love the work that everybody did," he said. "I'm very proud of what w e achieved on the line."

On a cold January morning, I watched as a teenager moved from box to box at the Government Plaza station, systematically pressing or pulling the triggers of Zweig's pieces.

She didn't stop to listen to the performance. The point of her activity w a s to keep in motion the sounds and visuals. The resulting chorus of music and words provided an auditory b a c k d r o p and c o m m e n t a r y augmenting m y e x p e r i e n c e of Keith Christensen's images of gloves with accompanying text mounted in the w i n d s c r e e n panels. "I w a s born on the prairie," said the metal box, w h i l e Christensen's image of a r u m p l e d latex glove signaled that d e m o c r a c y is a " m e s s y process." Indeed.

GUI.GUN K A Y I M is an artist and writer specializing in site-specific performance. She is coartistic/managing director of Minneapolis-based Skewed Visions Performance Company, curator of Intermedia Arts' Art Inside/Outside Space Commission Program, and director of the Minnesota Visible Fringe Festival.

TAIPEI'S BUNKER MUSEUM JANE I N G R A M A L L E N

T h e B u n k e r M u s e u m of A r t e x h i b i t i o n on t h e

w e r e also hired as guides and guards at each of the sites. A n

i s l a n d of K i n m e n , T a i w a n , w a s i n d e e d a d i f f e r e n t sort of

e x h i b i t i o n spread over several parts of the island required

p u b l i c art s h o w . It i n c l u d e d

transportation, and tour b u s e s r e g u l a r l y m a d e the r o u n d s

eighteen solo

exhibitions

i n s i d e former military b u n k e r s by artists from T a i w a n and

with viewers.

C h i n a . For o v e r f i f t y y e a r s K i n m e n has b e e n the site of a

I saw this exhibition after it had been o p e n for sev-

l o n g - r u n n i n g c o n f l i c t b e t w e e n T a i w a n and C h i n a o v e r the

eral m o n t h s , a n d s o m e of the p i e c e s w e r e l o o k i n g a little

p o l i t i c a l control of this small island in the T a i w a n Straits

w o r s e for wear. T h e critics, art aficionados, and artists had

w i t h i n sight of m a i n l a n d C h i n a . T h e art e x h i b i t i o n in the

a l r e a d y c o m e and gone. O n e artist, S h e n Y u a n , o r i g i n a l l y

b u n k e r s w a s the idea of artist Cai G u o - Q i a n g . Cai, o r i g i n a l l y

from Fujian Province, China, and living in Paris since 1990,

from F u j i a n p r o v i n c e and n o w l i v i n g in N e w York City, has

m a d e her installation on top of a large bunker facing her for-

b e c o m e w i d e l y k n o w n in the West and A s i a for his large-

mer home. Here she created a giant metal speaker recalling

scale p e r f o r m a n c e - b a s e d w o r k s u s i n g e x p l o s i v e s and for his

the large military speakers u s e d during the conflict to broad-

sculptural installations involving audience participation,

cast propaganda. S h e also set up a tea shop inside the giant

s u c h as his Cultural

speaker. During the exhibition, her plan w a s to serve tea to

Melting

Bath at the Q u e e n s M u s e u m of

A r t in 1993.

visitors atop the bunker, w h e r e teatime talk among friends

For the past f e w y e a r s Cai has also b e e n organiz-

w o u l d r e p l a c e the s o u n d s of military p r o p a g a n d a . W h e n I

ing a series of e x h i b i t i o n s that he c a l l s " m u s e u m s , " w h e r e

w a s there n o tea w a s b e i n g s e r v e d and the p l a c e s e e m e d

h e i n v i t e s artists to interact w i t h a s i g n i f i c a n t site. He had

eerily deserted.

b e e n t h i n k i n g for s o m e t i m e of u s i n g the b u n k e r s of Kin-

T h e b u n k e r s of K i n m e n are p o w e r f u l spaces, and

m e n , and he r e c e i v e d s u p p o r t for his idea f r o m T a i w a n ' s

sometimes it seems that the space itself is more interesting

c u l t u r a l affairs a n d e d u c a t i o n b u r e a u s a n d K i n m e n C o u n t y

than the art i n s t a l l e d there. C h a n g Y u n g h o , an artist and

g o v e r n m e n t o f f i c i a l s , as w e l l as s o m e b u s i n e s s e s and priBELOW: Tan Dun installation, 2004.

vate f o u n d a t i o n s .

T h e Bunker M u s e u m exhibition required planning

and

public

participation.

Local

people

much were

i n v o l v e d in c l e a n i n g up the u n u s e d bunkers for the exhibit i o n , h e l p i n g the artists, and e n t e r t a i n i n g v i s i t o r s . L o c a l s

OPPOSITE PAGE CLOCKWISE FROM TOP: Shen Yuan installation, 2004. Exterior view of Chang Yungho's bunker. Kinmen Island children's art. Display of Wan Wen-chih, Dragon Dares Tiger Lair (detail), 2004.

from one school turned a small b u n k e r into a l i v i n g botanical g a r d e n , w h i l e others created w i n d c h i m e s to fill a b u n k e r w i t h pleasant m u s i c a l s o u n d s .

T h e b u n k e r s of K i n m e n are g h o s t l y r e m i n d e r s of this small i s l a n d ' s past as a b a t t l e g r o u n d b e t w e e n T a i w a n a n d C h i n a . I r e m e m b e r r e a d i n g that K i n m e n is the p l a c e w h e r e in the 1950s more b o m b s w e r e d r o p p e d over a p e r i o d of time than any other p l a c e in the w o r l d . S i n c e demilitarization in the 1990s, m u c h of K i n m e n is n o w a national park, and tourism is b e i n g e n c o u r a g e d . K i n m e n has s o m e of the best-preserved

traditional

Chinese

villages,

along

with

n u m e r o u s m i l i t a r y structures. A l t h o u g h the m i l i t a r y prese n c e on K i n m e n today is nothing like it u s e d to be, the remnants of its past are e v e r y w h e r e . M a n y of the b e a c h e s facing m a i n l a n d China are c l o s e d and still contain live mines. O n e of the most profuse plants a r o u n d K i n m e n is the b e a u t i f u l flowering

B o u g a i n v i l l e a , a v i n e w i t h sharp thorns that w a s

a r c h i t e c t f r o m B e j i n g , d e c i d e d not to add a n y t h i n g to his

p l a n t e d to c o v e r b u n k e r s a n d h e l p k e e p out

bunker. He cut a d e f u n c t b u n k e r in h a l f and e x p o s e d the inside structure of one side to g i v e a grim r e m i n d e r of the d i v i s i o n s of w a r and to create an e m b o d i m e n t of the tradi-

Barbed-wire fences and c a m o u f l a g e patterns are seen every-

tional C h i n e s e y i n and yang.

creative p o w e r s to counteract s o m e of the negative impact of

T h e largest a n d most i m p r e s s i v e b u n k e r installation w a s by T a i w a n e s e artist Wang Wen-chih, titled Dragon Dares Tiger Lair. Wang's use of natural b a m b o o shaped into curving forms w a s an effective counter to the cold, rigid lines of the stone bunker. A large b a m b o o t o w e r in the shape of an artillery shell rose on top of the bunker. T h e b a m b o o structure rambled around the outside and e v e n w e n t inside. Children liked this installation w i t h its m a n y parts to c l i m b on and tunnels to w a n d e r through.

a long-term w a r zone.

A n o t h e r m a s s i v e i n s t a l l a t i o n by C h i n e s e artist Wang Janwei softened a hard, hostile b u n k e r space by covering e v e r y t h i n g in soft, w h i t e , foam m a t e r i a l â&#x20AC;&#x201D; i n c l u d i n g the floors and the objects inside the bunker. It w a s quite an experience w a l k i n g t h r o u g h this c o m f o r t i n g , w o m b - l i k e w o r l d inside a huge, d e f u n c t b u n k e r located in a minefield.

intruders.

w h e r e on K i n m e n , constant reminders of the military presence. T h i s exhibition gave artists an o p p o r t u n i t y to use their

T h e B u n k e r M u s e u m of Art e x h i b i t i o n o p e n e d September 1 1 , 2004, and e n d e d on February 28, 2005. T h i s exhib i t i o n b r o u g h t the c o n t e m p o r a r y art w o r l d to t h e s m a l l island of K i n m e n and t e m p o r a r i l y t r a n s f o r m e d s o m e of its d e f u n c t military structures. O n e h o p e s this marks the beginn i n g of other c o m m u n i t y a n d p u b l i c art p r o j e c t s that w i l l g i v e K i n m e n a n e w type of fame.

JANE I N G R A M A L L E N is an artist and art critic in Taiwan

as a Fulbright

For more information,

Scholar visit:

and artist in

now

living

residence.

ivww.janeingramallen.com.

W o r l d - r e n o w n e d c o m p o s e r a n d c o n d u c t o r Tan D u n , o r i g i n a l l y from C h i n a , created an i n s t a l l a t i o n u s i n g recorded s o u n d s of h i m smashing a piano and a v i d e o of the process. Several smashed and deconstructed pianos were arranged throughout a large b u n k e r and former arsenal. T h e installation's disturbing s o u n d s and the destructive action of w r e c k i n g a piano created a p o w e r f u l resonance.

T h e exhibition also i n c l u d e d participation by children from K i n m e n . A s curator, Cai invited each elementary school in K i n m e n to submit a design for a b u n k e r installation. It w a s delightful to see the student's creations. C h i l d r e n

J WtHultiZii

.LI

57

DIGITAL DIVIDE MARY ALTMAN

58 used

ment, c h a n g i n g to digital requirements c o u l d be costly and

g l a s s s l i d e s , w a s created o v e r 1 5 0 y e a r s ago. C o l o r 3 5 m m

aggravating. Q u i c k slide scanning in M i n n e a p o l i s currently

slides h a v e been around for most of our lifetimes. T h e y doc-

runs about $10 per image ( w h i c h is also the cost of translat-

u m e n t e d o u r f a m i l y h i s t o r i e s a n d v a c a t i o n s d u r i n g the

ing a digital image into a slide). S c a n n i n g services are avail-

1 9 5 0 s , 60s, a n d 70s, a n d t h e y h a v e b e e n the b a c k b o n e of

able for c o n s i d e r a b l y less on the W e b , but artists h a v e to

artist r e v i e w by foundations, m u s e u m s , galleries, and public

a l l o w for the t u r n a r o u n d time. C o n f l i c t s b e t w e e n PC a n d

art programs. But other technologies h a v e emerged to chal-

M a c i n t o s h programs c a n present p r o b l e m s , and c o n f u s i o n

lenge the slide's role in our lives and w o r k .

over format and size c a n lead to poor resolution or files that

T h e M a g i c Lantern s l i d e projector, w h i c h

Most of us h a v e anticipated that w o r k i n g digitally

are difficult to open.

w o u l d be cheaper, faster, and easier. It seems so simple. Yet

A n o t h e r c o n c e r n is the increased potential to vio-

w h e n I b e g a n r e s e a r c h i n g h o w the c i t y of M i n n e a p o l i s

late artists' copyrights. With easier access to images by more

s h o u l d shift from requesting p a p e r p r o p o s a l s a n d slides to

p e o p l e , the c h a n c e s of artists' w o r k b e i n g d i s p l a y e d or

digital a p p l i c a t i o n s and images, the i n f o r m a t i o n I received

altered w i t h o u t permission is greater. T h i s risk extends not

o u t l i n e d c o m p l e x c h a l l e n g e s for artists and c o m m i s s i o n i n g

o n l y to the public artist but also to the photographers w h o

organizations. A s part of m y research, I queried the A m e r i -

d o c u m e n t their w o r k .

c a n s for t h e A r t s p u b l i c art listserve. In o v e r t w o d o z e n responses, m a n y of the same advantages and disadvantages

ISSUES FOR ARTS PROGRAMS

w e r e d e s c r i b e d for b o t h c o m m i s s i o n i n g organizations and

Public art programs face several advantages in mak-

artists. Representative c o m m e n t s are interspersed through-

ing this c h a n g e . T h e d i s k s and e q u i p m e n t are lighter a n d

out w h a t f o l l o w s .

m o r e c o m p a c t . A s s e m b l i n g a n d d e l i v e r i n g an e l e c t r o n i c panel packet is faster, and panelists can v i e w images on their o w n , b e f o r e m e e t i n g s . O n c e artists are s e l e c t e d , p r o g r a m s

ISSUES FOR ARTISTS "Images are cheaper to duplicate (free) and faster to mail-

h a v e electronic images on hand to post on websites and dis-

out (instantaneous)."

tribute w i t h press materials. A n d h o w m u c h longer can w e

-David Forbes, artist

e x p e c t our carousel slide projectors to hold out?

"I know the transition is coming, but I'm not sure how to

technology.

O n the other h a n d , s o m e p e o p l e prefer the o l d e r cope in the meantime-nor am I sure how to direct artists."

-Barbara Robinson, artist services director, IDAHO COMMIS-

"From a panelist's perspective, I have noticed that viewing slides (especially with multiple projectors) tends to be

SION ON THE ARTS

faster, with clearer resolution. Opening up high-resolution In the long run it clearly benefits artists to convert

jpegs takes more time than flashing up multiple slides. It

their w o r k from slides. W h e r e slides get brittle and fade, dig-

seems to be a question of equipment availability, request-

ital images are a more stable m e a n s of d o c u m e n t i n g artwork.

ing information in a standardized format and size, and time

P r o d u c i n g C D s is less e x p e n s i v e

to organize materials into a PowerPoint presentation."

and time

consuming.

Images can be easily c r o p p e d , and color and contrast can be

-Jennifer McGregor, visual arts curator, WAVE HILL, NEW YORK

i m p r o v e d . For m a n y emerging artists or those w h o h a v e been w o r k i n g digitally for a w h i l e , the c h a n g e o v e r w i l l be a w e l c o m e relief.

T h e c h a l l e n g e s to arts p r o g r a m s r a i s e d b y t h i s transition range from h a r d w a r e a n d s o f t w a r e p r o b l e m s , to

But for artists w h o prefer to w o r k w i t h i n more tra-

d e v e l o p i n g appropriate g u i d e l i n e s for submitting images, to

ditional formats, or for those w h o cannot afford the equip-

control over panel meetings and the integrity of submissions.

O n e repeated c o n c e r n is the need to efficiently manage hun-

T h e city of P h o e n i x is partnering w i t h the Western

dreds of images in panel meetings. Most programs i n c l u d e

States Arts Federation ( W E S T A F ) to test an on-line a p p l i c a -

e l i m i n a t i o n r o u n d s and s w i t c h i n g back and forth b e t w e e n

tion s y s t e m c a l l e d Z A P P ( w w w . z a p p l i c a t i o n . o r g ) , w h i c h w a s

c a r o u s e l s . W o r k i n g w i t h digital i m a g e s s o u n d s faster a n d

d e v e l o p e d by W E S T A F and the National A s s o c i a t i o n of Inde-

less c u m b e r s o m e , but large files and s l o w e q u i p m e n t c a n

p e n d e n t Artists a n d is u s e d by several arts festivals, i n c l u d -

lengthen the panel process. A l s o , the cost of n e w e q u i p m e n t

ing the U p t o w n Art Fair in M i n n e a p o l i s .

and software c o u l d be e s p e c i a l l y b u r d e n s o m e for small nonprofit p u b l i c art programs.

"From t h e artists' perspective, it w o u l d b e greatly appreci-

A n o t h e r issue raised by both artists and administra-

a t e d if t h e public art a d m i n i s t r a t i o n c o m m u n i t y w o u l d for-

tors is the potential for artists to alter images. High-quality

m u l a t e a s t a n d a r d m e t h o d for electronic R F Q s u b m i s s i o n s .

i m a g e s that c o n v e y the story h a v e a l w a y s h a d e n o r m o u s

This is t h e m o m e n t to d o this, b e f o r e t h e r e are a h u n d r e d

influence in the panel process. But w i t h the ability to m a k e

different g u i d e l i n e s in place, w h i c h will m a k e it that m u c h

c h a n g e s to photographs or to d e v e l o p h i g h l y designed a n d

harder for an artist t o comply."

c o m p l e x images, some question w h e t h e r the authenticity of

-Mike Mandel, artist

images c o u l d be an issue.

P u b l i c art programs also n e e d to p r o v i d e assistance POSSIBLE SOLUTIONS

to artists w h o are m a n a g i n g this transition: from s c a n n i n g , to

Public art programs are tackling this change w i t h a variety of strategies: on-line submissions and registries that

m e n t s and saving artists the hassle of reformatting images for

p r o v i d i n g a c c e s s to e q u i p m e n t , to s t a n d a r d i z i n g r e q u i r e -

can be u p d a t e d by artists themselves, digital asset managem e n t p r o g r a m s that can be u t i l i z e d for p r e s e n t a t i o n s and

m u l t i p l e clients.

archiving collections, and technical assistance for artists. A t a m i n i m u m , m o s t agree that b a s i c g u i d e l i n e s for digital imagery are needed, i n c l u d i n g size (pixels, file size), image

the c h a n g e to digital. It's g o i n g to h a p p e n ; t h e q u e s t i o n is

format (jpeg, PDF), number of pictures per image, i n c l u s i o n of text, and a consistent formula for slide identification. Softw a r e for managing image files is critical. Suggestions i n c l u d e s o f t w a r e for m a n a g i n g p a n e l m e e t i n g s ( M i c r o s o f t P o w e r Point, W i n d o w s Picture and Fax Viewer, A d o b e Acrobat), as w e l l as more c o m p l e x databases for managing images (Extensis Portfolio, Canto Cumulus). In some cases, technical assistance is n e e d e d for determining i n d i v i d u a l program needs, guidelines, and software and hardware solutions.

METRO ART

O b v i o u s l y , w e don't really h a v e a c h o i c e in m a k i n g w h e n and h o w best to prepare programs and artists for the transition. Clearly, an o n g o i n g c o n v e r s a t i o n b e t w e e n artists and c o m m i s s i o n i n g o r g a n i z a t i o n s is essential. P e r h a p s the real lesson in this c h a n g e w o n ' t be the n e w g u i d e l i n e s themselves but the process a n d d i a l o g u e w e use to create them.

T o d a y ' s 3 5 m m K o d a c h r o m e s l i d e w a s d e v e l o p e d in t h e 1950s. It's hard to b e l i e v e that p u b l i c art programs and artists w i l l be u s i n g digital images for as long.

M A R Y A L T M A N is public Minneapolis.

arts administrator

for the city of

Believing that art can make the transit experience more inviting and meaningful for the public, Metro commissions artists for a wide array of projects throughout LA County.

msmw Snj i ui f tt ii Jui

METRO ART p r o j e c t s include: > Artworks for Metro Rail and Metrolink s t a t i o n s > Artworks for Metro b u s s y s t e m > B e n c h e s , m u r a l s and a r t i s t - d e s i g n e d s t r e e t s c a p e e n h a n c e m e n t s > Lightbox displays for p h o t o g r a p h i c a r t w o r k s > Poetry in M o t i o n in p a r t n e r s h i p with Poetry Society of A m e r i c a > Artist-created p o s t e r s o f n e i g h b o r h o o d s served by M e t r o > Free d o c e n t - g u i d e d Metro Rail art tours T o r e c e i v e M E T R O ART a n n o u n c e m e n t s a n d t o a d d y o u r n a m e t o o u r d a t a b a s e for u p c o m i n g art o p p o r t u n i t i e s , call 2 1 3 . 9 2 2 . 4 A R T .

For m o r e i n f o r m a t i o n o n c u r r e n t p r o j e c t s a n d visit metro.net/art.

Metro

opportunities,

NEWS

TRAFFIC TicKeTS? 6 0 DOWN THe HALL To THe 10 COMMANDMENTS MONUMGNTCLUTHeRAN VeRSiON) TILL You R6ACH THe QUR'AN DiSPLAY. TAKe A L6FT AND CoNTiNUfi PAST •me BUDDHiST SHRiNe UNTiL YoU s e e -me 10 COMMANDMENTS MONUMeNTCreWiSH VeRSiON}.

Go RIGHT AT THe A2TCC SACRiFiCiAL ALTAR AND ONTOTHe ViSHNU STATue, WHOSe THiRD A R M POiNTS TO A D00R BeTWeeN THe DRUiD STONGHENGe RePLiCA AND THe 10 COMMANDMeNTS ^ MONUMeNT (CATHOLIC VeRSiON).

THe MONK iNSiDe WILL DiRECT YOU FROM THERE.

60

© 2005

E N D A N G E R E D CITY

IMPOSSIBLE PUBLIC A R T

A t w e n t y - y e a r b a t t l e in La C r o s s e , W i s e . , e n d e d

M i c h a e l Heizer, referred t o a s " a r t ' s o r n e r y

H o s t e l , a n o n p r o f i t o r g a n i z a t i o n b a s e d in

in February, f o l l o w i n g t h e U.S. S u p r e m e

o u t l a w " by New York Times critic M i c h a e l

M a l m o , S w e d e n , is d e d i c a t e d t o t h e s u p p o r t

Court's debate over the display of TEN

K i m m e l m a n , is b a t t l i n g t i m e a n d t h e f e d e r a l

a n d p r e s e n t a t i o n o f a r t w o r k in p u b l i c s o c i a l

C O M M A N D M E N T S plaques and sculptures

g o v e r n m e n t t o c o m p l e t e his s p r a w l i n g

s p a c e , with a f o c u s o n s u p p o r t i n g artists w h o

o n g o v e r n m e n t - o w n e d p r o p e r t y in T e x a s a n d

N e v a d a d e s e r t p r o j e c t CLTY. In t h e 1 9 6 0 s ,

w i s h t o r e s e a r c h or e x e c u t e w o r k in cities

Kentucky. T h e M a d i s o n - b a s e d F r e e d o m From

H e i z e r d e v e l o p e d a r e p u t a t i o n for c r e a t i n g

o t h e r t h a n t h o s e in w h i c h they live. Recently,

Religion F o u n d a t i o n d e c i d e d n o t t o t a k e their

m o n u m e n t a l earthworks, including

Hostel sponsored D U M B

c a s e to the S u p r e m e Court. The foundation

Negative,

a n d a La C r o s s e r e s i d e n t first filed a f e d e r a l

So-foot-deep, 30-foot-wide gash onto facing

T H O U SHALL N O T DEACCESSION

Double

for which he cut a 1,500-foot-long,

FUNNY

ECONOMY,

DEMOCRACY, IMPOSSIBLE

PRO-

JECTS. S e v e n artists d e v i s e d p r o p o s a l s f o r

suit in 1985 c o n t e n d i n g t h e m o n u m e n t ' s loca-

s l o p e s o f t h e M o r m o n M e s a in N e v a d a . H e

i m p o s s i b l e p u b l i c art p r o j e c t s a n d p r e s e n t e d

t i o n in a city park v i o l a t e d t h e U.S. C o n s t i t u -

a c q u i r e d land in G a r d e n City in 1 9 7 2 a n d

t h e m in t h e f o r m o f a poster. P o s t e r s w e r e f o r

tion's separation o f church and state. T h e

b e g a n w o r k o n City, a c o m p l e x o f g i g a n t i c

sale (70 Swedish crowns), and buying a

c a s e w a s d i s m i s s e d in 1 9 8 7 . T h e f o u n d a t i o n

m o u n d s , p y r a m i d s , r a m p s , a n d pits s p r e a d

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

a g a i n filed s u i t in 2 0 0 2 s e e k i n g t o r e m o v e

a c r o s s t h e valley. H e i z e r e s t i m a t e s t h e p r o j e c t

t h e e n d o f t h e first p h a s e o f t h e p r o j e c t , t h e

t h e m o n u m e n t . To d e f u s e t h e g r o u p ' s suit,

will t a k e a n o t h e r f i f t e e n y e a r s t o c o m p l e t e at a

v o t e s will be tallied, a n d t h e artist w h o s o l d

t h e city s o l d a t w e n t y - t w o - b y - t w e n t y - f o o t p l o t

c o s t o f a p p r o x i m a t e l y $25 million, m u c h o f

t h e m o s t p o s t e r s will r e c e i v e t h e total s u m

o f land w h e r e t h e m o n u m e n t s t a n d s t o t h e

w h i c h c o m e s t h r o u g h t h e Dia C e n t e r for t h e

f r o m t h e s a l e o f all o f t h e p o s t e r s . T h a t m o n e y

Fraternal O r d e r o f E a g l e s , w h i c h h a d d o n a t e d

A r t s via t h e L a n n a n F o u n d a t i o n , c o l l e c t o r

will be u s e d t o realize t h e final p r o j e c t , w h i c h

t h e m o n u m e n t t o t h e city in 1 9 6 5 . In 2 0 0 3 ,

Philippa d e M e n i l , a n d art d e a l e r H e i n e r

will b e p r e s e n t e d a s part o f an e x h i b i t i o n in

a federal j u d g e ordered the m o n u m e n t ' s

Friedrich. A f t e r C o n g r e s s p a s s e d t h e N u c l e a r

June at t h e R o o s e u m ' s T e s t Site in M a l m o ,

r e m o v a l , ruling t h e s a l e w a s m e a n t t o side-

W a s t e Policy A c t r e q u i r i n g t h e D e p a r t m e n t o f

S w e d e n . P a r t i c i p a t i n g artists w e r e M i k e

s t e p c o n s t i t u t i o n a l i s s u e s . T h e city a n d t h e

Energy t o find d e e p g e o l o g i c a l d i s p o s a l s i t e s ,

A r c e g a , A m y F r a n c e s c h i n i , A n n a M a l t z , Julio C e s a r M o r a l e s , Kate P o c r a s s , Jon Rubin, a n d

Eagles appealed, and a three-judge panel of

o n e o f the locations selected w a s Yuca, near

t h e 7th C i r c u i t C o u r t o f A p p e a l s in C h i c a g o

A r e a 51. P l a n n i n g f o r t h e d i s p o s a l c o m m e n c e d

D a v i d Stein. T h e p r o j e c t w a s c r e a t e d a n d

d e c i d e d in January t h a t t h e c i t y ' s d e c i s i o n t o

in 1 9 8 7 . N o w it a p p e a r s t h e r e is a risk t h a t t h e

c u r a t e d by J o s e p h del P e s c o in c o l l a b o r a t i o n

sell t h e m o n u m e n t a n d t h e land a r o u n d it did

n u c l e a r train will p a s s t h r o u g h H e i z e r ' s p r o p -

with A l i s o n G e r b e r a n d w a s m a d e p o s s i b l e

not violate the separation o f church and state.

erty, c o m p r o m i s i n g t h e d e s i r e d i m p a c t o f t h e

t h r o u g h t h e s u p p o r t o f t h e B a r b r o O s h e r Pro

w o r k . T h e feisty H e i z e r is n o t likely t o g i v e in,

S u e c i a F o u d a t i o n . For m o r e i n f o r m a t i o n , visit

a n d a b a t t l e is clearly o n t h e N e v a d a h o r i z o n .

www.hostelprojects.org.

INTERACTIVE ARROWS

C h e c k this out. THE YELLOW A R R O W project will be a f e a t u r e d c o m p o n e n t o f L o w e r M a n hattan Culturual Council's s u m m e r - l o n g p r o g r a m "The Secret New York," a n d at the s e c o n d annual "Provoflux," a festival/confere n c e in P r o v i d e n c e , R h o d e Island ( M a y 272 9 ) . Yellow Arrow is a g l o b a l p u b l i c art p r o j e c t , u r b a n g a m e , a n d t o o l f o r c o l l a b o r a t i v e experim e n t a l travel, an i n t e r a c t i v e f o r u m for p e o p l e

Center for Latino Arts/IBA w a s a w a r d e d

M A D R I D T O GET M E M O R I A L

$ 4 4 , 5 0 0 for p l a n n i n g a n d d e v e l o p i n g a r t w o r k s

A c o m p e t i t i o n for the d e s i g n o f a Madrid

d e s i g n e d by artist j o h n Taguiri f o r t h e O ' D a y

t r a i n - b o m b i n g m e m o r i a l w a s w o n by EL

Park in Villa V i c t o r i a , l o c a t e d in B o s t o n ' s

G R U P O F A M : E s a u A c o s t a , M a u r o Gil-

S o u t h End. T h e v i s i o n is t o t r a n s f o r m O ' D a y

Fournier, R a q u e l Buj, M i g u e l J e a n i c k e , a n d

Park into an L a t i n o a r t s - t h e m e d park. T h e

P e d r o C o l d n d e C a r v a j a l . T h e i r d e s i g n repre-

r e n o v a t e d s p a c e will s e r v e a s a v e n u e t o h o s t

s e n t s a crystal l a m p in t h e f o r m o f a thirty-

various Latino cultural e x p r e s s i o n s — m u s i c ,

t h r e e - f o o t - h i g h cylinder. I n s t e a d o f b e a r i n g t h e

d a n c e , f i l m , poetry, e t c .

n a m e s o f b o m b i n g v i c t i m s , t h e s t r u c t u r e will

The Fenway Alliance w a s awarded $30,000

carry m e s s a g e s t h a t c i t i z e n s left in t h e train

t o s u p p o r t Ellen D r i s c o l l ' s Lumina,

s t a t i o n o n t h e d a y o f t h e t r a g e d y . El C r u p o

an

installation o f LED s c r e e n s t h a t d i s p l a y

F A M r e c e i v e d $ 6 3 , 0 0 0 in p r i z e m o n e y . T h e

changing

m o n u m e n t o p e n e d March n , 2005, the

art-related g r a p h i c s s u c h a s m u s i c a l

instruments and paint brushes. The s c r e e n s

Boston's Huntington Avenue-Avenue of

RECENT GATHERINGS

the Arts.

For m o r e i n f o r m a t i o n a b o u t N E F A , visit

P R O J E C T — E n g a g i n g A r t i s t s in t h e Built Envi-

www.nefa.org.

r o n m e n t w a s a s e m i n a r held M a y 4, 2 0 0 5 at

to leave and discover m e s s a g e s pointing out

t h e C B S O C e n t r e in B i r m i n g h a m , E n g l a n d .

what c o u n t s . Participants place arrows to

P R O J E C T is a n a t i o n a l f u n d i n g s c h e m e jointly

draw attention to different locations and

s u p p o r t e d by t h e C o m m i s s i o n f o r A r c h i t e c t u r e

o b j e c t s , a f a v o r i t e v i e w o f t h e city, an o d d fire

a n d t h e Built E n v i r o n m e n t ( C A B E ) a n d A r t s &

h y d r a n t , t h e local bar. T h e y c a n t h e n s e n d a

B u s i n e s s (A&.B), d e v e l o p e d in p a r t n e r s h i p

t e x t - m e s s a g e , s u c h as a literary q u o t a t i o n s ,

w i t h a n d m a n a g e d by P u b l i c Art S o u t h W e s t

p e r s o n a l c o m m e n t a r y , or a g a m e - l i k e p r o m p t

( P A S W ) . T h e s c h e m e , l a u n c h e d in J u n e 2 0 0 4 ,

to action. W h e n a viewer e n c o u n t e r s the

e n g a g e s artists, public a g e n c i e s , a n d the

arrow, he or s h e s e n d s t h e c o d e o n t h e a r r o w

p r i v a t e s e c t o r in a r a n g e o f p r o j e c t s i n t e n d e d

t o t h e p h o n e n u m b e r listed a n d i m m e d i a t e l y

to have a positive impact on the places w h e r e

r e c e i v e s t h e m e s s a g e o n their m o b i l e p h o n e .

M o r e i n f o r m a t i o n is a v a i l a b l e at L M C C ' s w e b

one-year anniversary o f the terrorist attack.

will b e a t t a c h e d t o light p o s t s s i t u a t e d a l o n g

p e o p l e live. For f u r t h e r i n f o r m a t i o n visit MAIOR MURAL SHOW

www.project-awards.org.uk.

s i t e ( w w w . l m c c . n e t ) , t h e P r o v i d e n c e Initiative

F r o m July 1 0 t o O c t o b e r 16, 2 0 0 5 , W A L L S OF

for P s y c h o g e o g r a p h i c Studies

HERITAGE, WALLS OF PRIDE: A F R I C A N

( w w w . p i p s w o r k s . c o m ) or w w w . y e l l o w a r r o w . n e t .

A M E R I C A N M U R A L S will be o n d i s p l a y at t h e

O n April n , 2 0 0 5 , C a r n e g i e M e l l o n U n i v e r -

[Photo

S m i t h s o n i a n ' s Anacostia M u s e u m and Center

s i t y ' s S c h o o l o f Art in P i t t s b u r g h h o s t e d

for African A m e r i c a n History and

STONE U N T U R N E D : ARTISTS +

by Jesse

Shapin.]

Culture,

1901 Fort P l a c e SE, W a s h i n g t o n , D . C . FeaturN E F A AWARDS G R A N T S

F U N D FOR T H E ARTS, a p r o g r a m a d m i n i s t e r e d a n d m a n a g e d by t h e N e w E n g l a n d F o u n d a t i o n for t h e Arts ( N E F A ) , h a s a l l o c a t e d $ 7 9 , 5 0 0 in FY05 t o s u p p o r t t h e p l a n n i n g a n d c r e a t i o n o f public art w o r k s in B o s t o n . Fund for t h e A r t s w a s c r e a t e d in 1981 u n d e r arts phil a n t h r o p i s t Phil D a v i d F i n e ' s l e a d e r s h i p . T h e Fund s u p p o r t s public art p r o j e c t s t h a t pair B o s t o n - b a s e d artists with n o n p r o f i t c o m m u nity o r g a n i z a t i o n s t o c r e a t e a r t w o r k s o f l a s t i n g i m p a c t . T h i s y e a r ' s g r a n t w i n n e r s a r e a s follows: Artists for H u m a n i t y ( A F H ) w a s a w a r d e d $ 5 , 0 0 0 for p l a n n i n g a n d d e v e l o p i n g a s e r i e s o f s c u l p t u r e s t o b e installed at their r e n e w a b l e e n e r g y facility, t h e E p i c e n t e r . T h e s c u l p t u r e s will e x a m i n e c o n s e r v a t i o n a n d natural e n e r g y r e s o u r c e s a n d will s e r v e a s part o f A F H ' s perm a n e n t e d u c a t i o n a l a n d exhibition p r o g r a m s .

A F H ' s y o u n g p e o p l e will w o r k with s c u l p t o r s Nick R o d r i g u e s a n d M a t t A l t h o f in d e v e l o p i n g , d e s i g n i n g , c r e a t i n g , a n d installing interior rchitectural s c u l p t u r e s a s part o f t h e n e w Spirit u s Solaris p e r m a n e n t exhibition.

No

GARDENS,

t h e first s y m p o s i u m t o i n v e s t i g a t e t h e g a r d e n

ing s o m e s e v e n t y - f i v e p h o t o g r a p h s , d r a w i n g s ,

a s art t h r o u g h t h e p e r s p e c t i v e s o f s o m e o f

a n d p a i n t i n g s , t h i s s h o w will e x p l o r e t h e

the nation's leading artists and l a n d s c a p e

b e a u t y a n d i m p a c t o f historic a n d c o n t e m p o -

d e s i g n e r s . H e l d in c o n j u n c t i o n w i t h t h e

rary m u r a l s c r e a t e d by A f r i c a n A m e r i c a n s

o p e n i n g o f the Kraus C a m p o , a new public

a r o u n d t h e country. B e g i n n i n g with early t w e n -

s p a c e by artist M e l B o c h n e r a n d l a n d s c a p e

tieth-century w o r k by s u c h artists a s John Big-

a r c h i t e c t M i c h a e l Van V a l k e n b u r g h . In

gers, Aaron Douglas, Charles White, and Hale

addition to Bochner and Van Valkenburgh,

W o o d r u f f , t h e exhibition will illustrate h o w

featured speakers included landscape

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

d e s i g n e r Julie B a r g m a n n , e n v i r o n m e n t a l artist

such as the Harlem Renaissance, the social

B o b B i n g h a m , artist R o b e r t Irwin, a n d

a c t i v i s m o f t h e 1 9 6 0 s , a n d c o n t e m p o r a r y hip-

s c u l p t o r M e g W e b s t e r . For m o r e i n f o r m a t i o n

h o p culture. A m o n g t h e h i g h l i g h t s will be t h e

on t h e s y m p o s i u m , visit

l a n d m a r k c o l l a b o r a t i v e m u r a l Wall of

www.carnegiemellon.com.

Respect,

c r e a t e d in 1 9 6 7 o n C h i c a g o ' s S o u t h S i d e . T h e exhibition will be c u r a t e d by Robin D u n i t z a n d J a m e s Prigoff, a u t h o r s o f t h e b o o k o f t h e s a m e n a m e ( r e v i e w e d in Public Art Review, I s s u e 24).

M o r e i n f o r m a t i o n is a v a i l a b l e at 202-287-3306 or w w w . a n a c o s t i a . s i . e d u .

[Photo by William

Canton,

Anacostia

Photo © the artist, courtesy

Museum.]

sored BALTIMORE'S ALMOST F A M O U S A N N U A L EAST C O A S T N A T I O N A L

CHAMPI-

O N S H I P K I N E T I C S C U L P T U R E RACE o n April 30, 2 0 0 5 . P a r t i c i p a n t s r a c e d h u m a n - p o w e r e d

Another Time's

V o i c e R e m e m b e r s My P a s s i o n ' s H u m a n i t y , 1979, Chicago.

T h e A m e r i c a n Visionary Art M u s e u m s p o n -

the

w o r k s o f art c o n s t r u c t e d o u t o f u s e d b i c y c l e s , g e a r s , a n d v a r i o u s p a r t s . Entries r a n g e d f r o m o n e - p e r s o n crafts to large vehicles p o w e r e d by a t e a m o f p i l o t s . Pilots ( k i n e t i n a u t s )

c o m p e t e for the c o v e t e d m e d i o c r e award and

RECENT P U B L I C A T I O N S

FRANCIS ALYS:THE M O D E R N

t h e highly p r i z e d next-to-the-last a w a r d , a s well a s s e r i o u s p r i z e s f o r art a n d e n g i n e e r i n g .

For m o r e i n f o r m a t i o n , i n c l u d i n g p h o t o s o f p r e v i o u s races, visit www.KineticBaltimore.com.

FUTURE GATHERINGS T h e Second

Taipei Public Art Festival,

"UTOPIA

OF T O G E T H E R N E S S , " i n c l u d e s a s e r i e s o f i n s t a l l a t i o n s in t h e D a t o n g D i s t r i c t ' s D i h u a S e w a g e T r e a t m e n t Plant, b e g i n n i n g April 7.

I n s p i r e d by t h e v i s i o n first p r o p o s e d by C o n f u c i u s — t o effect a balance between h u m a n s and their s u r r o u n d i n g s — t h e premiere event w a s t h e r e o p e n i n g o f t h e Lan Z h o u P o l i c e Station, which w a s a surveillance center w h e r e p o l i c e m e n kept watch on locals during the Japanese colonial period. The building has

PROCESSION

Francis A l y s a n d A n n e Wehr, e d i t o r s INTERVENTIONS

N e w York: Public Art Fund, 2 0 0 5

M a l c o m M i l e s a n d T i m Hall, e d i t o r s

1 6 0 p a g e s , $25 ( h a r d c o v e r )

P o r t l a n d , O r e g . : Intellect B o o k s , 2 0 0 5

The Modem

180 pages, $40 (paperback)

to celebrate the moving of the M u s e u m of

Procession,

a performance event

T h i s is t h e f o u r t h v o l u m e in t h e s e r i e s

M o d e r n Art f r o m m i d t o w n M a n h a t t a n t o its

A d v a n c e s in Art a n d U r b a n Futures. T h i s vol-

t e m p o r a r y h o m e in Q u e e n s , t o o k p l a c e June

u m e a i m s to bring together the perspectives

23, 2 0 0 2 . M o d e l e d u p o n t r a d i t i o n a l r e l i g i o u s

o f a c a d e m i c s in s e v e r a l d i s c i p l i n e s , artists,

p r o c e s s i o n s , t h e e v e n t b e g a n in t h e m o r n i n g

a n d o t h e r arts p r o f e s s i o n a l s . It d o e s n o t

with 100 participants and e n d e d three hours

a s s u m e t h a t "art is g o o d f o r u s " ; i n s t e a d , it

later w i t h m o r e t h a n 2 0 0 p a r t i c i p a n t s . T h i s

a s k s w h a t i n t e r v e n t i o n s in t h e f o r m o f v i s u a l

book chronicles the event and the three years

c u l t u r e m i g h t d o . It i n c l u d e s c o n t r i b u t i o n s

o f p r e p a r a t i o n t h a t led u p t o it. It i n c l u d e s an

f r o m the United States, Germany, Lithuania,

i n t e r v i e w with R o b e r t Storr, Francis Alys, a n d

and the United Kingdom. While m o s t o f the

T o m Eccles, a n d e s s a y s by Lynne C o o k e , D a r i o

e s s a y s relate t o u r b a n c o n d i t i o n s a n d cul-

G a m b o n i , RoseLee Goldberg, Harper Mont-

t u r e s , t h e r e is o n e c h a p t e r o n a rural arts

g o m e r y , a n d F r a n c e s c o Pellizzi.

p r o j e c t in S c o t l a n d . T h i s v o l u m e ' s t h r e e s e c tions are Policies and Strategies, Projects, and Artcj-ArchitectureJournal

Evaluations.

been refurbished and o p e n e d to the public as t h e Y o u g u o Art P o l i c e S t a t i o n . T h e S t a t i o n

PERIL I N THE S Q U A R E : T H E

i n t r o d u c e s local r e s i d e n t s t o t h e w o r l d o f art

THAT CHALLENGED A CITY

SCULPTURE

through w o r k s h o p s and c o m m u n i t y projects.

G e o f f r e y J. Wallis

A l s o featured during the festival are s u m m e r -

V i c t o r i a , A u s t r a l i a : Indra P u b l i s h i n g , 2 0 0 4

l o n g art i n s t a l l a t i o n s by a r t i s t s Yen M i n g -

152 p a g e s , $38.50 ( p a p e r b a c k )

h u n g , Liu K u o - c h a n g , Y u a n C o a n g - m i n g , a n d

Wallis r e c o u n t s t h e h i s t o r y o f Vault, a c o n t r o -

Lin Lung-ju a n d H s i u n g Yi-yi. For m o r e infor-

versial s c u l p t u r e by Ron R o b e r t s o n - S w a n n

ART & ARCHITECTURE JOURNAL

m a t i o n visit h t t p : / / e n g l i s h . t a i p e i . g o v . t w .

t h a t briefly g r a c e d City S q u a r e in M e l b o u r n e ,

Art <sl Architecture

A u s t r a l i a , f r o m 1980-81 b e f o r e b e i n g r e m o v e d ,

a n d r e l a u n c h e d a s an i n d e p e n d e n t

The Public Art N e t w o r k ( P A N ) , a

r e a s s e m b l e d , a n d reinstalled in M e l b o u r n e ' s

m a g a z i n e in February 2 0 0 5 w i t h f u n d i n g

p r o g r a m o f A m e r i c a n s for t h e Arts, will

B a t m a n Park.

s u p p o r t f r o m Art C o u n c i l E n g l a n d t o repre-

Journal

w a s f o u n d e d in 1 9 8 0

h o l d its a n n u a l g a t h e r i n g in A u s t i n , T e x a s o n

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

June 9 a n d 10. T H E LAY OF T H E L A N D : P U B -

artists, a r c h i t e c t s , a n d o p i n i o n m a k e r s . Its

LIC A R T , P O L I T I C S , A N D T H E

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

ENVIRONMENT

will e x a m i n e t h e c r e a t i o n o f p u b l i c art a s "a

m e n t o f s u c c e s s f u l , high-quality p u b l i c art

d y n a m i c e x c h a n g e b e t w e e n artistic, s o c i a l

c o m m i s s i o n s , projects, and collaborations.

a n d political f o r c e s a n d t h e p h y s i c a l

T h e AolAJ is printed quarterly a s a 6 8 - p a g e

environment." The keynote speaker i s —

c o l o r m a g a z i n e . V o l u m e 62 will be p u b l i s h e d

appropriately—artist Agnes Denes, w h o s e

at t h e e n d o f M a y o n t h e t h e m e o f Art in t h e

m o n u m e n t a l e n v i r o n m e n t a l p r o j e c t s are inter-

U r b a n C o n t e x t t o c o i n c i d e with UK A r c h i t e c -

n a t i o n a l l y r e n o w n e d . In a d d i t i o n t h e r e a r e

ture W e e k (June 17-26). w w w . a r t a n d a r c h i t e c -

w o r k s h o p s , t o u r s , a n d t h e e v e r - p o p u l a r Year

C I T Y A R T : N E W Y O R K ' S P E R C E N T FOR

in R e v i e w p r e s e n t a t i o n . T o register, visit w w w .

ART

AmericansForTheArts.org/LeadingTheCharge.

Eleanor Heartney

A T L A N T A CELEBRATES

PHOTOGRAPHY

turejournal.com

PROGRAM P U B L I C A R T : A R E A D E R (REV. ED.)

N e w York: Merrell, 2 0 0 5

Florian M a t z n e r , e d i t o r

2 4 0 p a g e s , $50 ( p a p e r b a c k )

Germany: Hatje Cantz Publishers, 2 0 0 4

( A C P ) will return t h i s O c t o b e r with e x h i b i t i o n s

T h i s b o o k is a c o m p r e h e n s i v e p h o t o g r a p h i c

4 6 3 p a g e s , $35 ( p a p e r b a c k )

a n d e v e n t s f o r all p h o t o g r a p h y e n t h u s i a s t s .

d o c u m e n t a t i o n o f o v e r 2 0 0 p u b l i c art installa-

This collection represents contributions o f

For its p u b l i c art c o m p o n e n t s , a g r o u p o f

t i o n s s p o n s o r e d by N e w York C i t y ' s P e r c e n t

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

t h r e e a r t i s t s will b e c o m m i s s i o n e d , t o b e

f o r Art P r o g r a m s i n c e 1983. T h e b o o k i n c l u d e s

c u r a t o r s . It w a s i n s p i r e d by an i n t e r n a t i o n a l

a n n o u n c e d in May. Last year, A C P p r e s e n t e d

a p r e f a c e by N Y C M a y o r M i c h a e l B l o o m b e r g

c o n g r e s s - — P u b l i c Art: T h e S t a t e o f P l a y — h e l d

Post No Bills by P e t e r B a h o u t h . T h e p r o j e c t ,

a n d an i n t r o d u c t i o n by A d a m G o p n i k .

in February 2 0 0 0 at t h e A d a d e m i e d e r Bliden-

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

d e n K u n s t e in M u n i c h . P u b l i s h e d originally in

the urban landscape, included a series of

2001 a s a bilingual e d i t i o n , it h a s b e e n reis-

s t e r e o s c o p i c (3-D) v i e w e r s p l a c e d t h r o u g h o u t

s u e d a s s e p a r a t e G e r m a n a n d E n g l i s h edi-

p e d e s t r i a n f r i e n d l y n e i g h b o r h o o d s in A t l a n t a .

t i o n s . T h e b o o k d i v i d e s t h e field o f p u b l i c art

Further d e t a i l s o f t h i s y e a r ' s f e s t i v a l a r e avail-

i n t o six s e c t i o n s : Art a n d t h e City, Art a n d

able on the A C P website: www.acpinfo.org.

A r c h i t e c t u r e , Art a n d History, Art a n d Society, Art a n d t h e Exhibition, a n d Art a n d t h e Public.

Y o u ARE HERE: EXPLORING ART IN THE

PUBLIC ART B Y T H E

SUBURBS

Barbara Goldstein, editor

TRANSPORTATION

Jack Becker, e d i t o r

Seattle: University o f W a s h i n g t o n Press, 2005

Dian M a g i e , editor

Minneapolis, Minn.: The McKnight

O N THE ROAD

BOOK

AGAIN...CREATIVE DESIGN

Hendersonville, NC: University o f North

$50 ( p a p e r b a c k )

Foundation, 2005

This long-awaited nuts and bolts guide to the

Carolina, 2005

65 p a g e s ( p a p e r b a c k )

c o m p l e x — a n d often challenging—field of

81 p a g e s , $37 ( p a p e r b a c k w i t h C D )

S u b u r b a n c o m m u n i t i e s a c r o s s the country are

p u b l i c art is a m u s t - h a v e . P u b l i s h e d w i t h

"Context sensitive highway design" has

g e t t i n g o n t h e p u b l i c art b a n d w a g o n , m a k i n g

A m e r i c a n s f o r t h e Arts, Public Art by the

t h e arts a n d artists m o r e a c c e s s i b l e t o a fast-

is t h e d e f i n i t i v e r e s o u r c e f o r i n f o r m a t i o n for

A d m i n i s t r a t i o n . N o w w e s e e artistic creativity e v i d e n t at rest a r e a s , train s t a t i o n s , a i r p o r t s ,

Book

b e c o m e a t o p priority o f t h e Federal H i g h w a y

growing population. This collection of twelve

local g o v e r n m e n t , arts a g e n c i e s , arts p r o f e s -

c a s e s t u d i e s o f p r o j e c t s a r o u n d t h e Twin

sionals and artists t h e m s e l v e s . Projects and

bike p a t h s , b u s s h e l t e r s , p a r k i n g s t r u c t u r e s ,

C i t i e s o f f e r s city m a n a g e r s , library d i r e c t o r s ,

p r o g r a m s a r e i n c l u d e d f r o m N e w York, H o u s -

a n d b r i d g e s . In t h i s nicely p r o d u c e d b o o k a n d

e l e c t e d o f f i c i a l s , a n d d e v e l o p e r s — a s well as

t o n , Los A n g e l e s , P h o e n i x , S e a t t l e , P o r t l a n d ,

C D — f u l l o f useful information and observa-

a r t i s t s — a broad range of approaches to con-

San Diego, and many more. Goldstein served

t i o n s — t h e large and c o m p l e x world o f public

sider: from sculpture g a r d e n s , c o m m u n i t y -

a s t h e f o r m e r d i r e c t o r o f S e a t t l e ' s p u b l i c art

art in t r a n s i t is a n a l y z e d . M a g i e h a s a s s e m b l e d

b a s e d m u r a l s , folk art m o n u m e n t s ,

p r o g r a m a n d is n o w p u b l i c art p r o g r a m direc-

a stellar c a s t o f a u t h o r i t i e s a s c o n t r i b u t o r s ,

streetscape enhancements, outdoor

tor for San Jose's O f f i c e o f Cultural Affairs.

i n c l u d i n g W e n d y Feuer, B a r b a r a G o l d s t e i n , Jes-

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

S h e is f a m i l i a r with f u n d i n g , c o n t r a c t s , c o m -

sica C u s i c k , D a v i d H o y t - J o h n s o n , Robin N i g h ,

b o o k is a f o l d - o u t c o l o r m a p o f o v e r sixty-five

munity partnerships, citizen involvement,

Jerry C a n n o n , a n d m a n y o t h e r s . T h e b o o k is

p r o j e c t s a n d s i t e s o f i n t e r e s t in t h e e i g h t

artist-initiated p r o j e c t s , a n d o t h e r p r a c t i c a l

b e a u t i f u l l y illustrated, a n d t h e C D is a t r e a s u r e

c o u n t i e s s u r r o u n d i n g M i n n e a p o l i s a n d St.

m a t t e r s , a n d it s h o w s .

trove o f visual e x a m p l e s , featuring 2 0 0 high

Paul. You Are Here is f u n d e d a n d p u b l i s h e d by

r e s o l u t i o n i m a g e s w i t h d e t a i l e d p r o j e c t infor-

The McKnight Foundation, and coordinated

m a t i o n . S u p p o r t e d by a N a t i o n a l E n d o w m e n t

by F O R E C A S T Public A r t w o r k s , p u b l i s h e r o f

for t h e A r t s D e s i g n G r a n t , On the Road

Public Art

w a s p r o d u c e d as a limited edition. G e t o n e

Review.

while you can.

M O N U M E N T S FOR T H E

On the Road Again...

USA

Ralph R u g o f f , e d i t o r a n d c u r a t o r S a n F r a n c i s c o : C C A W a t t i s Institute, 2 0 0 5

^

CREATIVE T R A N S P O R T A T I O N DESI

1 6 0 p a g e s , $34.95 ( p a p e r b a c k ) T h e C a l i f o r n i a C o l l e g e o f t h e A r t s W a t t i s Institute for C o n t e m p o r a r y Arts recently presented an e x h i b i t i o n f e a t u r i n g m o r e t h a n 50 artists

Book with 18 essays by transportation and design professionals.

f r o m a r o u n d t h e w o r l d . Each p r e s e n t s p r o p o s als for political a n d s o c i a l m o n u m e n t s f o r t h e United States of America. Proposals range f r o m E l m g r e e n & D r a g s e t ' s Monument Short Term Memory

to

and Michael R o s s ' s

ment to Small Changes,

Includes CD with images of over 200 projects. $37 +shipping

Monu-

t o Xu Z h e n ' s h u g e

l o u d s p e a k e r s that should be placed on a m o u n t a i n in A f g h a n i s t a n a n d in a U.S. m e t r o p o l i s , a c c o m p a n i e d by m i c r o p h o n e s a l l o w i n g r e c i p r o c a l s w e a r i n g t o be e x c h a n g e d between citizens o f the t w o countries. Other artists i n c l u d e B a r b a r a Kruger, H a n s H a a c k e , A l e k s a n d r a Mir, a n d M a r k Wallinger. T h i s b e a u t i f u l l y illustrated c a t a l o g u e b e l o n g s o n

Brian Borello Portland, Oregon

John David M o o n e y Miami, Florida

Laurie Lundquist Phoenix, Arizona

any p u b l i c art p r o f e s s i o n a l ' s b o o k s h e l f .

www.craftcreativitydesign.org for order form UNC Center for Craft, Creativity and Design

Again

FORECAST NEWSLETTER S I N C E 1 9 8 9 , F O R E C A S T P U B L I C A R T W O R K S , P U B L I S H E R OF PAR,

H A S A W A R D E D M O R E T H A N 1 5 0 G R A N T S TO

I N D I V I D U A L ARTISTS A N D COLLABORATIVE T E A M S TO EXPLORE THE PUBLIC REALM. THE PUBLIC ART AFFAIRS G R A N T P R O G R A M IS U N I O U E T O ITS FIELD, S U P P O R T I N G E M E R G I N G ARTISTS OR EARLY CAREER ARTISTS, I N C L U D I N G F U N D I N G FOR RESEARCH A N D D E V E L O P M E N T (PERHAPS THE HARDEST M O N E Y FOR ARTISTS TO F I N D ) . U N L I K E A C O M M I S S I O N I N G P R O G R A M , ARTISTS ARE I N V I T E D TO CHOOSE THEIR O W N SITES A N Y W H E R E I N M I N N E S O T A AS WELL AS CONTENT, COLLABORATORS, A N D SCHEDULES. T h e P u b l i c A r t A f f a i r s grant p r o g r a m is f u n d e d a n n u a l l y by Jerome F o u n d a t i o n , the premier arts f o u n d a t i o n

w i l l bring together students to e x p l o r e their lives as recent immigrants to the T w i n Cities area.

Jim Proctor's The Buckthorn

in Minnesota. T h i s year their support is in celebration of the

i n v o l v e s vol-

u n t e e r s in e x t r a c t i n g b u c k t h o r n f r o m o v e r r u n areas a n d

cultural contributions of artists to society.

u s i n g the dried s p e c i m e n s to create giant d a n d e l i o n - l i k e

In January, an i n d e p e n d e n t p a n e l a s s e m b l e d by

sculptures. Proctor h o p e s the sculptures, set up on park land

F O R E C A S T r e v i e w e d fifty-eight proposals and selected four

and v i e w a b l e from trails and r o a d w a y s , w i l l bring attention

R & D projects, four project grants, and o n e special project.

to the problem of n o n n a t i v e invasive species and encourage

A s a k o N a k a u c h i is r e s e a r c h i n g the materials and

investment in maintaining the restored areas.

t e c h n i q u e s n e c e s s a r y to create a p u b l i c s c u l p t u r e for the

Barbara C l a u s s e n is interested in creating art "at the

L o n g f e l l o w n e i g h b o r h o o d in M i n n e a p o l i s . She is interested

intersection of public and private land in order to separate,

in creating a piece that d i s p l a y s and promotes the spirit of

define, or bridge b o u n d a r i e s . " S h e w i l l run n e w s p a p e r ads to

f a m i l y and pride in her n e i g h b o r h o o d , through c o m m u n i t y

d r a w out c o n f l i c t or c o n t r o v e r s y h a p p e n i n g in the T w i n

i n v o l v e m e n t in the sculpting/casting process.

Cities area and create a public project w i t h those i n v o l v e d in

Jennifer Otis w i l l f o c u s on " i m p o r t a n t bird a r e a s " as d e f i n e d by A u d u b o n of M i n n e s o t a a n d the D N R , w i t h 64

Menace

Jerome Hill C e n t e n n i a l a n d in r e c o g n i t i o n of the v a l u a b l e

the site dispute to bring healing or even reconciliation to the parties i n v o l v e d .

the goal of d e v e l o p i n g a p u b l i c art project that fosters a cul-

A special project grant w a s a w a r d e d to M i n n e a p o l i s

ture of e c o l o g i c a l a p p r e c i a t i o n , p r o t e c t i o n , a n d restoration.

artist A n g e l a Carlson, w h o w i l l create a tile mosaic on a fifty-

O t i s is a c e r a m i c i s t w h o r e c o g n i z e s the artist's role as an

foot brick c h i m n e y at the Lao Market on University A v e n u e

e n g a g e d c o m m u n i t y m e m b e r a n d a d v o c a t e for p o s i t i v e eco-

in St. Paul. Her design for the long u n u s e d structure, visible

logical change.

from the State Capitol, features water spilling d o w n the side

M o n i c a Sheets is using the World W i d e W e b to dis-

of the c h i m n e y out onto the s i d e w a l k . Carlson's project is the

tribute t e m p o r a r y tattoos that d e p i c t three s o c i o c u l t u r a l

fifth in a series of F O R E C A S T - s p o n s o r e d projects f o c u s e d

institutions that affect our lives: c h u r c h , state and corpora

a l o n g U n i v e r s i t y A v e n u e , the m a j o r b o u l e v a r d c o n n e c t i n g

tion. P a r t i c i p a n t s w i l l r e c e i v e a card p r o m p t i n g t h e m to

M i n n e a p o l i s and St. Paul.

N a n c y A n n C o y n e is researching and d e v e l o p i n g a

r e f l e c t on their r e l a t i o n s h i p w i t h these i n s t i t u t i o n s a n d

photography installation for the d o w n t o w n M i n n e a p o l i s

directing them back to the w e b s i t e to share their e x p

s k y w a y system. She seeks to target a diverse a u d i e n c e

e n c e s after w e a r i n g the tattoos.

Marcus

Young

will

create

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

fortune ^

c o o k i e art w i t h a project titled Messages. By cre-

^ ^

ating m e a n i n g f u l texts and disguising them in

environment.

In a d d i t i o n to f u n d i n g , F O R E C A S T pro-

the c o m m o n shell of the fortune cookie, Y o u n g B

h o p e s to surprise visitors to four C h i n e s e restau-

v i d e s d o c u m e n t a t i o n , p u b l i c relations, technical assistance and referrals to h e l p artists

rants around the state w i t h his experimental and

further their career o b j e c t i v e s or e x p a n d the

c o n c e p t u a l public art.

Barbra Nei's project, D-i-a-l-ogz,

among

those a u d i e n c e s , local b u s i n e s s e s , and the built

addresses the

issues of identity and difference. Her w o r k i n v o l v e s creat ing a student-designed w e b s i t e linked to a series of backlit

scale of their projects. T h e program has been effective in bringing more artists out of the studio and into the c o m m u n i t y . M a n y c o m m u n i t i e s around the country face

with

challenges w h e n it c o m e s to finding local talent for c o m m i s -

infrared c o m m u n i c a t i o n tags. In collaboration with Interme-

sion opportunities. T h e artists in their region m a y not h a v e

dia A r t s and the W e l l s t o n e International High S c h o o l , N e i

e x p e r i e n c e w o r k i n g in public, making it difficult for them to

p o s t e r s in T w i n C i t i e s area b u s s h e l t e r s e n c o d e d

c o m p e t e or g r o w as i n d e p e n d e n t p r o d u c e r s . P u b l i c Art

for other c o m m u n i t i e s , and w e are eager to share

Affairs is a practical means of cultivating local talent, nurtur-

experiences and assist those interested in adopting a similar

ing and incubating emerging artists w h o may not have con-

strategy. M o r e i n f o r m a t i o n , d o c u m e n t a t i o n , a n d a n n u a l

sidered the public realm as an outlet for their creativity. It is

application forms are available at www.forecastart.org.

FORECAST'S hope that Public Art Affairs serve as a model

1i PUBLIC

ART

SAINT PAUL

[

Public A r t Saint Paul calls artists to submit their qualifications for the Saint Paul Public Artist Residency.

The 18-month residency will engage an artist in the design of Saint Paul's public infrastructure and capital developments. It offers a $22,000 residency stipend and a $25,000 public art commission.Work schedule (800 hours over 18 months) to be negotiated once artist is selected.

Prospectus and application forms can be downloaded from Public A r t Saint Paul's website: www.publicartstpaul.org Deadline for submission of qualifications is June 17, 2005.

our

R E C E N T PROJECTS

Artist S e y e d Alavi h a s c r e a t e d FLYING CARPET, a s i t e - s p e c i f i c p u b l i c art p r o j e c t for t h e S a c r a m e n t o International Airport. T h e i n s t a l l a t i o n c o n s i s t s o f a n aerial v i e w o f t h e S a c r a m e n t o River t h a t is w o v e n into a c a r p e t for t h e floor o f a p e d e s t r i a n b r i d g e c o n n e c t i n g the terminal to the parking garage. This i m a g e r e p r e s e n t s a p p r o x i m a t e l y fifty m i l e s o f t h e S a c r a m e n t o River s t a r t i n g j u s t o u t s i d e o f C o l u s a , C a l i f o r n i a , a n d e n d i n g a b o u t six m i l e s s o u t h o f C h i c o . In a d d i t i o n t o r e c a l l i n g t h e e x p e r i e n c e o f flight a n d flying, t h i s p i e c e , by d e p i c t i n g t h e larger g e o g r a p h i c a l area, a t t e m p t s to reinforce a s e n s e o f b e l o n g i n g and c o n n e c t i o n for the traveler and can be read a s a " w e l c o m e m a t " for v i s i t o r s a r r i v i n g in S a c r a m e n t o . Its s i t i n g o n a b r i d g e p l a y s

B a l m y Alley, in t h e h e a r t o f S a n F r a n c i s c o ' s

h o n o r p e o p l e w h o h a v e d i e d . T h e left s i d e o f

o n t h e idea o f c o n n e c t i o n b e t w e e n t w o

M i s s i o n District, is t h e s i g h t o f a n e w m u r a l

t h e central s e c t i o n p o r t r a y s t h e burial o f a

d e s t i n a t i o n s , a n o t i o n t h a t i n v o k e s air-

by N e w York City artist j a n e t B r a u n - R e i n i t z .

m a n a n d w o m a n , v i c t i m s o f t h e A I D S epi-

p l a n e s â&#x20AC;&#x201D; a m o m e n t o f flight f r o z e n in

T H I N G S FALL APART, a m u r a l a b o u t A I D S in

d e m i c . T h e c o m m u n i t y m o u r n s as t h e c a s k e t

m i d a i r â&#x20AC;&#x201D; a n d rivers, w h o s e c u r r e n t m o v e s

A f r i c a , w a s d e d i c a t e d o n S e p t e m b e r 1 g, 2 0 0 4 .

is l o w e r e d . To t h e right, an o r p h a n e d child h a s

t r a v e l e r s t o a n o t h e r d e s t i n a t i o n . Flying

T h e l a r g e h e a d s at e a c h e n d o f B r a u n - R e i n i t z ' s

inadvertently w a n d e r e d o n t o a heap o f

i n v e r t s t h e u s u a l r e l a t i o n s h i p b e t w e e n a river

mural represent people o f east, west, and

unburied bodies of other victims.

a n d a b r i d g e , s i n c e h e r e t h e river is on t h e

s o u t h A f r i c a . E x c e p t f o r an i s o l a t e d child, t h e

[Photo

b r i d g e rather t h a n v i c e v e r s a .

r e m a i n i n g figures t a k e t h e f o r m o f traditional

[Photo

d o l l s m a d e by t h e Ewe p e o p l e o f T o g o t o

courtesy

the

artist.]

Carpet

by Tim

Drescher.j

S o u t h K o r e a n - b o r n artist K i m s o o j a is k n o w n for her f a s c i n a t i n g s o l o p e r f o r m a n c e s in

67

c r o w d e d p u b l i c s p a c e s , in w h i c h s h e s t a n d s , sits, or reclines m o t i o n l e s s a m i d s t the bustle a r o u n d her. C r e a t i v e T i m e c o m m i s s i o n e d S o o j a t o c r e a t e a p i e c e f o r T i m e s S q u a r e , in c o n j u n c t i o n with a o n e - h o u r s c r e e n i n g o f her d o c u m e n t a r y v i d e o o f her p r e v i o u s w o r k o n t h e N B C A s t r o v i s i o n by P a n a s o n i c m o n i t o r S U N D A G G E R ( 2 0 0 4 ) , by R o b e r t P e r l e s s , is

overlooking the Square. The Panasonic-spon-

l o c a t e d on t h e c a m p u s o f U t a h Valley S t a t e

s o r e d C r e a t i v e T i m e s e r i e s "The 59th

C o l l e g e in H e b e r City, U t a h . T h e a r t w o r k f u n c -

a l s o airs 6 o - s e c o n d c l i p s o n t h e last m i n u t e o f

t i o n s a s a kind o f c e l e s t i a l o b s e r v a t o r y a n d

every h o u r f r o m 6 : 0 0 a . m . t o 1 : 0 0 a . m .

s o l a r t i m e p i e c e , linking v i e w e r s t o t h e c e l e s t i a l

( e x c e p t 7 - 1 0 a m a n d 6-7 p m ) . For her M a r c h

M i n n e a p o l i s , artist A l e x a n d e r Tylevich c o n s i d -

m e c h a n i c s o f the earth's rotation a r o u n d the

11th p r o j e c t — C O N D I T I O N S OF A N O N Y M I T Y ,

e r e d t h e w i n d o w s , d o o r s , s e a t i n g , a s well a s

s u n . It w o r k s b o t h a s a n o o n t r a n s i t a n d hori-

s p o n s o r e d by T i m e s S q u a r e A l l i a n c e — S o o j a

t h e crucifix, altar a n d t a b e r n a c l e . All t h e s e ele-

zontal sundial, and as a s e a s o n a l calendar,

c h o s e to direct a small g r o u p o f performers to

m e n t s are c o m p l i m e n t a r y in t h e final p r o j e c t .

celebrating the winter and s u m m e r solstices

s i t — m o t i o n l e s s a n d b e g g a r - l i k e — i n t w o dif-

Tylevich c o n s i d e r s t h e c h a p e l ' s s t a i n e d - g l a s s

and the vernal and a u t u m n a l equinoxes. T h e

ferent s p o t s for a half-hour each. T h e basic

w i n d o w s t h e m o s t v i s i b l e . "In their h u m i l i t y

g n o m o n o f t h e s u n d i a l f a c e s t r u e north a n d is

p r e m i s e is " s i l e n c e a n d i m m o b i l i t y , " s a y s

a n d g e o m e t r i c simplicity, t h e w i n d o w s a i m t o

e l e v a t e d at an a n g l e o f 4 0 . 4 6 ° , t h e l a t i t u d e o f

S o o j a . "It's a b o u t d o i n g n o t h i n g , f i n d i n g t h e

provide a comfortable place to meditate and

H e b e r City. At p r e c i s e l y s o l a r n o o n , w h e n t h e

m e a n i n g a s it is." T h i s is t h e first t i m e s h e h a s

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

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

b e e n an o b s e r v e r o f her o w n w o r k , f r e e t o

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

c o m i n g t h r o u g h t h e slit i l l u m i n a t e s t h e 12

study reactions and the m o v e m e n t s of

g o l d e n g l i m m e r o f light. W e w a n t e d n o v i s i b l e

o'clock position. The prisms on the end of the

p a s s e r s b y . "It's o b v i o u s t h e s e p e o p l e in b e g -

evidence o f construction. We wanted a place

g n o m o n p r o j e c t r a i n b o w s o n t o t h e s u n line,

g i n g p o s i t i o n a r e n o t real b e g g a r s , " yet p e o p l e

w h e r e e v e r y o n e c o u l d feel h o p e . " T h e p r o j e c t

making the sculpture a seasonal calendar as

p a r t i c i p a t e d by p u t t i n g c o i n s or t o y s in their

w a s c o m m i s s i o n e d by t h e U n i v e r s i t y o f St.

well a s a w a y t o tell t i m e . T h e g n o m o n o f t h e

o u s t r e t c h e d hands. " W h a t are w e asking for?

T h o m a s , t h e w i n d o w s w e r e f a b r i c a t e d by

s c u l p t u r e is c o n s t r u c t e d o f w e l d e d s i l i c o n

M o r e than just money. People have to ques-

Derix C l a s s S t u d i o ( p i c t u r e d , a l o n g w i t h

bronze and polymer prisms. T h e n a m e

tion t h e m s e l v e s a s they h a v e their o w n d u r a -

detail), and architects w e r e O p u s Architects

Sun

Minute"

F o r t h e ST. T H O M A S M O R E C H A P E L in

Dagger is an h o m a g e t o t h e a n c i e n t A n a s a z i ,

tion o f s i l e n c e . . . It's t h e p o w e r o f s h a r i n g a

and Engineering.

w h o u s e d a s h a f t o f s u n l i g h t falling b e t w e e n

strong m o m e n t between p e r f o r m e r s and view-

[Photos

t w o stone slabs to mark the p a s s i n g o f the

e r s . " [Photo

s o l s t i c e a n d t o read t h e h a r v e s t i n g a n d plant-

courtesy

ing s e a s o n s a n d record t i m e ' s p a s s a g e .

[Photo courtesy

the

artist.]

by Charlie

of Creative

Samuels

Time.]

©

2005,

courtesy

Derix Art Class

Studio.]

S H E C H A N G E S , Janet E c h e l m a n ' s l a r g e s t

m o v e s in t h e w i n d . T h e n e t t i n g by W.L. G o r e

c o m m i s s i o n t o d a t e , c l a i m s t o be t h e first

& A s s o c i a t e s u s e s a nearly i n d e s t r u c t i b l e col-

permanent, m o n u m e n t a l public sculpture to

o r f a s t Tenara® a r c h i t e c t u r a l f i b e r m a d e o f

u s e an entirely s o f t a n d flexible s e t o f m e m -

Teflon®. T h i s is t h e first k n o w n a p p l i c a t i o n o f

b r a n e s m o v i n g fluidly in t h e w i n d . D e d i c a t e d

Tenara® a s an archival artistic m a t e r i a l for a

in April n e a r t h e A t l a n t i c b e a c h in Pra<;a

permanent outdoor sculpture.

C i d a d e S a n S a l v a d o r — j o i n t l y o w n e d by

[Photo

courtesy

the

artist.]

t h e city o f P o r t o a n d its n e i g h b o r i n g city,

A O U E O U S H U M O U R ( 2 0 0 4 ) , by Ellen Driscoll in c o l l a b o r a t i o n w i t h M A K E , C h a r l e s J o n e s , Paul M e n e s e s , a n d M a t t h e w H i n c m a n , is a kinetic s c u l p t u r e f o r t h e n e w S o u t h B o s t o n M a r i t i m e Park, c o m m i s s i o n e d by M a s s p o r t . T h e s c u l p t u r e is b a s e d o n t h e w h e e l s t h a t drive t h e c r a n e s in C o n l e y Terminal in B o s t o n . In e a c h o f t h e t h r e e w h e e l s are m o s a i c i m a g e s o f t h e m a r i n e life in t h e h a r b o r w a t e r s , t h e s h i p p i n g i n d u s t r y o p e r a t i n g at Conley Terminal, and the fishing industry a c r o s s t h e s t r e e t at t h e Fish Pier. T h e m o s a i c e a c h i m a g e recall t h e i n d i v i d u a l ' s life history

i m a g e s are both historical and contemporary,

a n d t h e story b e h i n d his or her p h o t o g r a p h .

a n d refer t o t h e m a n y p e o p l e w h o arrived in

Archiving

Memory

w a s c r e a t e d by M i n n e a p o l i s

Boston f r o m other countries and w h o s e labor

p h o t o g r a p h e r and visual a n t h r o p o l o g i s t

built t h e b u s y port t h a t t h r i v e s today. O n t h e

A R C H I V I N G M E M O R Y , a thirty-five-foot-high

N a n c y A n n C o y n e , in c o l l a b o r a t i o n with

g r o u n d p l a n e , a large g r a n i t e circle is

i n t e r a c t i v e p u b l i c art p r o j e c t , w a s i n s t a l l e d

A s s o c i a t e P r o f e s s o r W i l l i a m F. C o n w a y a n d

e n g r a v e d with t h e n a v i g a t i o n a l s t a r s u s e d by

February 7, 2 0 0 5 , at t h e U n i v e r s i t y o f

Adjunct Assistant Professor Marcy Schulte

s a i l o r s t o c h a r t their c o u r s e in t h e o c e a n .

M i n n e s o t a ' s E l m e r L. A n d e r s e n Library. B a s e d

o f C o n w a y + S c h u l t e A r c h i t e c t s , in c o o p e r a t i o n

T h r e e w h e e l s — f o u r t e e n f e e t , ten f e e t , a n d six

o n p h o t o g r a p h s a n d i n t e r v i e w s with A u s t r i a n

with T i m o t h y J o h n s o n , c u r a t o r o f s p e c i a l

f e e t in d i a m e t e r — a r e s e t within a twenty-five-

H o l o c a u s t survivors and Nazi resisters, the

c o l l e c t i o n s a n d rare b o o k s at t h e A n d e r s e n

f o o t g r a n i t e circle in t h e g r o u n d . T h e w h e e l s

w a l k - t h r o u g h p r o j e c t e m p l o y s t w e l v e rare, life-

Library, a n d R o b e r t S i l b e r m a n , a s s o c i a t e

are forty i n c h e s , thirty-eight i n c h e s , a n d thirty-

size family p h o t o s f r o m individuals w h o fled

p r o f e s s o r o f art history. T h e installation will

six i n c h e s high r e s p e c t i v e l y a n d a r e m a d e o f

Germany, survived concentration c a m p s ,

run t h r o u g h June 2 0 0 5 .

s t o n e and glass m o s a i c , and stainless and

r e s i s t e d t h e N a z i r e g i m e , or lived in h i d i n g .

[Photo

by Nancy Ann Coyne © 2005.]

g a l v a n i z e d steel. T h e t w o taller w h e e l s are

Each portrait r e p r e s e n t s a s p e c i f i c y e a r f r o m

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

1936-1947. Oral history texts a c c o m p a n y i n g

d i f f e r e n t p i c t o g r a m s . [Photo

M a t o s i n h o s — t h e $1.6 m i l l i o n l a n d m a r k

courtesy

the

artist.]

D u r i n g January a n d February 2 0 0 5 , T H E A R T S H A N T Y PROJECTS c r e a t e d a gallery/resid e n c y / s c u l p t u r e park o n a f r o z e n lake.

I n s p i r e d by t h e ice f i s h i n g h o u s e s u s e d by Minnesota fishermen, and taking advantage o f a lack o f b u i l d i n g c o d e s o r a p u b l i c art g o v e r n i n g body, a r t i s t s w e r e c o n s t r a i n e d o n l y by t h e u n i q u e e n v i r o n m e n t o f b e i n g o n ice.

T w e n t y - e i g h t art s h a n t i e s , p r o j e c t s , a n d perf o r m a n c e s w e r e r e a l i z e d o n M e d i c i n e Lake, including a group of ladders reaching up from t h e ice a n d a s h a n t y t h a t s e r v e d a s a rear proj e c t i o n s c r e e n f o r drive-in f i l m s . T h e s h o w attracted approximately 1 0 0 0 visitors, with t e m p e r a t u r e s r a n g i n g f r o m -12° F. t o 50° F. T h e p r o j e c t w a s c u r a t e d by D a v i d P i t m a n a n d P e t e r H a a k o n T h o m p s o n , in c o l l a b o r a t i o n w i t h N o N a m e E x h i b i t i o n s @ T h e S o a p Factory, a n d will b e r e - p r e s e n t e d at T h e S o a p Factory g a l l e r i e s o p e n i n g July 1 6 , 2 0 0 5 . For m o r e information see www.artshantyprojects.org and www.soapfactory.org.

[Photo fay Peter Haakon

Thompson.]

Artist a n d " c u l t u r a l a d j u s t e r " R o l a n d o B r i s e n o ' s r e c e n t p r o j e c t for t h e lobby o f Trinity University, in S a n A n t o n i o , is a w a t e r f a l l wall relief c a l l e d T H E L E A R N I N G TREE. Each part o f t h e t r e e is a m e t a p h o r for e d u c a t i o n a l e x p e r i e n c e s e n c o u n t e r e d t h r o u g h o u t o u r lives.

A c c o r d i n g to Briseno, "The roots represent h o m e education and building a foundation for learning; t h e trunk g r o w s in a s t e p p e d fashion, twisted, offering many different b r a n c h e s t o be e x p e r i e n c e d . Every b r a n c h offers a new context, and the accumulation of c o n t e x t s is k n o w l e d g e . A b o v e a r e c l o u d s t h a t effuse water and sunlight. They remind us of

T h e C H I N E S E ICE A N D S N O W Festival is held

A l s o p i c t u r e d is an o v e r v i e w o f t h e Ice Festival

o u r s i m b i o t i c r e l a t i o n s h i p with n a t u r e . W a t e r

a n n u a l l y in H a r b i n at S u n Island Park. T e a m s

f r o m a t o p t h e G r e a t Wall, w h i c h d o u b l e s a s

a n d light g i v e The Learning

f r o m all o v e r t h e w o r l d c r e a t e s n o w a n d ice

a s l i d e . Ice c o m e s f r o m t h e n e a r b y S o n g h u a

way that education nurtures the individual."

sculptures. T h e f o r m e r are mostly displays o f

Jiang River. S n o w a n d ice s c u l p t u r e in H a r b i n

[Photo

art, t h e latter m o s t l y a r c h i t e c t u r e . M o s t o f t h e

d a t e s b a c k t o M a n c h u t i m e s , b u t t h e first

s c u l p t u r e s a p p e a r i n g at t h e s n o w f e s t i v a l are

o r g a n i z e d s h o w w a s held in 1 9 6 3 a n d t h e

c o m p e t i t i v e e n t r i e s , o t h e r s are c r e a t e d by

a n n u a l f e s t i v a l s t a r t e d in 1985. S i n c e t h e n ,

C h i n e s e t e a m s such as the o n e pictured.

t h e f e s t i v a l h a s g r o w n into a m a s s i v e e v e n t ,

by Peter

Aaron/Esto.j

Tree life t h e s a m e

b r i n g i n g in o v e r a m i l l i o n v i s i t o r s every w i n t e r f r o m all o v e r t h e w o r l d .

[Photos

courtesy

Dr. Franklin

Marcus.]

69

D e n v e r artist Ira S h e r m a n h a s c r e a t e d t w o t r a v e l i n g s c u l p t u r e e x h i b i t i o n s , Panaceas Persistent

Problems

a n d Impenetrable

to

Devices,

t h a t f e a t u r e kinetic s c u l p t u r e d e s i g n e d t o c o m m e n t on current social issues and on our

D R E A M S I N T R A N S I T ( 2 0 0 4 ) , by artist a n d

p h o t o g r a p h s f r o m t h e area, a l o n g with i m a g e s

c h a n g i n g relationship to technology. The

p h o t o g r a p h e r Jenny Lynn, is a t e n - f o o t -

f r o m Lynn's a r c h i v e o f i c o n i c p h o t o g r a p h s

C R E M A S T I C R E F L E X C O R S E T is o n e o f a

by-thirty-foot p h o t o - m u r a l c o n s i s t i n g o f

a n d p h o t o g r a m s . Lynn, w h o s e w o r k s a r e in

series of exotic antirape devices: medically

twenty-seven panels, porcelain enamel on

the collections o f the Philadelphia M u s e u m of

graphic, anatomically correct, intimately worn,

steel, f e a t u r i n g f i f t e e n i m a g e s . It w a s

Art a n d t h e C e n t e r f o r C r e a t i v e P h o t o g r a p h y ,

stainless steel p r o s t h e s e s . H i g h - p r e s s u r e

c o m m i s s i o n e d by N e w Jersey Transit for t h e

recently p u b l i s h e d PhotoPlay,

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

N i n t h S t r e e t S t a t i o n in H o b o k e n , N.J., part o f

f e a t u r i n g her w o r k . Dreams

f u n c t i o n s w h e n a c t i v a t e d by a c a r e f u l l y l o c a t e d

t h e Transit A r t s P r o g r a m f o r t h e n e w H u d s o n -

first l a r g e - s c a l e p u b l i c art p i e c e .

p r e s s u r e - s e n s i t i v e air v a l v e .

B e r g e n Light Rail Transit s y s t e m . T h e

[Photo

[Photo fay the

installation u s e s a mix o f b l a c k - a n d - w h i t e

artist.]

by the

a monograph in Transit is her

artist.]

O n e o f t h e n e w e s t w o r k s c o m m i s s i o n e d by

p o l y e s t e r resin a n d f i b e r g l a s s c o a t i n g ; o v e r

a n d history. All o f t h e s e a r e physically,

D e n v e r ' s O f f i c e o f Cultural Affairs for the

hand m o d e l e d and cast forms. R e s e m b l i n g

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

C o l o r a d o C o n v e n t i o n C e n t e r is artist John

s n a p - a p a r t p i e c e s f o u n d in toy m o d e l c a r kits,

interdependent. Assembly instructionsâ&#x20AC;&#x201D;and

M c E n r o e ' s m o n u m e n t a l triptych, M O D E L

M c E n r o e u s e s o b j e c t s t h a t are r e l e v a n t t o t h e

g l u e â&#x20AC;&#x201D; a r e not included.

STATE: A LOCAL C O S M O L O G Y , m a d e o f

s t a t e o f C o l o r a d o ; its land, industry, p e o p l e ,

[Photo

by Bernard

Grant.]

CALIFORNIA STATION features the circular flight o f b i r d s f r o m h e a r t t o h e a r t a n d

71

s u g g e s t s the p a s s i n g of love from person to p e r s o n a n d p l a c e t o p l a c e , a s well a s t h e c o m i n g and going of c o m m u t e r s . The mural is l o c a t e d in t h e California el s t a t i o n o n t h e CTA's D o u g l a s B l u e Line. T h e m i g r a t i o n o f b i r d s f r o m c l e a r t o rainy s k i e s s y m b o l i c a l l y e n d o r s e s the virtues of p r o m o t i n g love through t i m e s o f both h a p p i n e s s and hardship. Chicago resident Christopher T a v a r e s Silva s t a r t e d o u t as an u r b a n artist a n d h a s b e c o m e an i m p o r t a n t p a i n t e r a n d m u r a l i s t in C h i c a g o . F a b r i c a t e d by Nils H i r s c h b e r g o f Franz M a y e r o f M u n i c h , Inc. [Photo courtesy

the

artist.]

313

Brooklyn's new G r e e n w o o d Cemetary T h e City o f C l e v e l a n d , w i t h a s s i s t a n c e f r o m

M

m

p

private d e v e l o p e r s , c o m m i s s i o n e d S a n F r a n c i s c o light artist C o r k M a r c h e s c h i t o c r e a t e P H O E N I X a s part o f t h e rebirth o f its historic district. F e a t u r i n g t w o t o w e r s c u l p t u r e s a n d t w e l v e light c o l u m n s s p r e a d o u t

lllfi"<

o v e r a t w o - b l o c k area, t h e p r o j e c t w a s c o m -

SKY S W E E P S , by S a n F r a n c i s c o artists S u e R i c h a r d s a n d Peter R i c h a r d s , is l o c a t e d in A b e r d e e n , W a s h . T h e title is a n a u t i c a l t e r m for a l o n g oar, a n d t h e a r t w o r k plays o n t h e rich n a u t i c a l history o f t h e a r e a . Each o f t h e three oars, m a d e o f stainless steel and c o m p o s i t e materials, w e i g h s 7,800 p o u n d s and is d e s i g n e d t o w i t h s t a n d w i n d s o f u p t o 1 4 0 m i l e s per hour. Sky Sweeps w a s s p o n s o r e d

pleted in N o v e m b e r 2 0 0 4 a f t e r e i g h t e e n m o n t h s o f work. Fabricated f r o m stainless steel, acrylic, h a l o g e n lights, a n d a f a d i n g s y s t e m for t h e t h r e e c o l o r l i g h t s , t h e c o l u m n s s l o w l y s h i f t intensity a n d color. T h e t w o t o w e r s a r e t w e n t y - f i v e f e e t tall, m a d e o f s t a i n l e s s steel, a l u m i n u m , p l a s t i c s , t e m p e r e d stained glass, and neon. T h e total b u d g e t w a s $ 3 5 0 , 0 0 0 . [Photo

courtesy

the

artist.]

M a u s o l e u m WATERFALL project features t w o four-story shingled glass waterfalls d e s i g n e d

by Piatt Byard D o v e l l W h i t e A r c h i t e c t s ( D a v i d Grider, p r o j e c t a r c h i t e c t ) w i t h a s s i s t a n c e f r o m R. J. Van S e t e r s . T h e i n s t a l l a t i o n c r e a t e s a s o o t h i n g , c o n t i n u o u s b a c k d r o p t o t h e fivestory atrium and f o r m s a c o n n e c t i o n b e t w e e n t h e p y r a m i d s k y l i g h t s at t h e p l a z a level a n d r e f l e c t i n g p o o l s at t h e g r o u n d floor. T h e w o r k w a s c o m p l e t e d in A u g u s t 2 0 0 4 at a c o s t o f $280,000. The

five-by-nine-foot

custom

s l u m p e d - g l a s s s h i n g l e s w e r e p r o v i d e d by Artw o r k in A r c h i t e c t u r a l G l a s s a n d e r e c t e d by Lynbrook G l a s s & Architectural M e t a l s Corp.

P l u m b i n g for t h e w a t e r f a l l a n d p o o l s w a s prov i d e d by C a r m i n e M e c h a n i c a l . M i l n e

by t h e W a s h i n g t o n S t a t e A r t s C o m m i s s i o n

Construction C o m p a n y w a s the general

and the W a s h i n g t o n State D e p a r t m e n t o f

contractor, with Mike H i p p serving as superin-

C o r r e c t i o n s , a n d w a s f a b r i c a t e d by Fabrication

t e n d e n t . [Photo

S p e c i a l t i e s , Ltd. [Photo

courtesy

the

artists.]

courtesy

David

Grider.]

I

72

Kana T a n a k a ' s h a n g i n g s c u l p t u r e o f C A P T U R I N G A M O M E N T w a s unveiled M a r c h 14, 2 0 0 5 at t h e S o l a n o C o u n t y G o v e r n m e n t C e n t e r in Fairfield, Calif. T h e

7

f o r t y - f o o t - l o n g w o r k c o n s i s t s o f a large triangular structure of cable and glass suspended above the lobby's main entrance. The n e t o f s t a i n l e s s s t e e l c a b l e s , i n s p i r e d by t h e i m a g e o f a s p i d e r ' s w e b c a t c h i n g t h e light, supports glass globules simulating drops of dew. A c t i n g as a lens, the g l a s s e m p h a s i z e s t h e s u r r o u n d i n g s by g a t h e r i n g a n d m a g n i f y i n g light, b r i g h t e n i n g t h e s p a c e , a n d e c h o i n g t h e purity a n d t r a n s p a r e n c y o f water.

[Photo fay the

"V-vr

artist.]

In t h e s u m m e r o f 2 0 0 4 , C r a i g D a v i d c o m p l e t e d a p u b l i c art p r o j e c t in St. P a u l , M i n n .

O U E E N OF THE W A N D E R I N G

RACES—lami-

nated stone, steel, concrete, and p l a n t i n g s — w a s f a b r i c a t e d in c o l l a b o r a t i o n w i t h y o u n g artists f r o m t h e N e i g h b o r h o o d L e a r n i n g C o m munity, w h i c h is affiliated w i t h t h e Jane A d d a m s S c h o o l for D e m o c r a c y a n d t h e N e i g h b o r h o o d H o u s e . T h e p i e c e , installed at Parque Castillo, represents a mythological i c o n — m o t h e r or q u e e n t o all i m m i g r a n t f a m i l i e s w h o lived or h a d affiliation with St. P a u l ' s W e s t S i d e . [Photo

detail by the

artist.]

Shoot Bell of Two Friends Karen Sontag

IWW

• r i i l f e :

I

'

ji'il!. iti

C I T Y O F P H O E N I X P H O E N I X OFFICE OF ARTS A N D CULTURE P U B L I C A R T P R O G R A M New

publications

available

Spring

2005:

Phoenix Public Art Program Map Phoenix Municipal Art/ Portable Works Collections Phoenix Public Art master plan review and retrospective Completed projects, current calls, publication requests and more information at w w w . p h o e n i x . g o v / A R T S .

FEATURED PROJECT: Kyrene Monte Vista Pedestrian Bridge: P h o e n i x . A r i z o n a . B r i d g e c a g e d e s i g n by A l Price. P h o t o by Erin F l i n t o n .

Artis Circle of Vision Norman Andersen Katherine Schafer

Heart of the City (closeup) Caprice Glaser

Work.

3

sue

h a r t l e y

photography

minneapolis,

mn

763-479-1558

ACKNOWLEDGMENTS

The board and staff of FORECAST Public Artworks wish to thank the following donors and advertisers for their generous support, and for helping to make possible the newly redesigned and largest issue of Public Art Review to date.

DONORS

Anne Alwell and Tullio Alessi • Porter Arneill • Thomas Bannister • Janet and Bernard Becker • Bernard and Mary Becker • Dianne and Stephen Becker • Robert and Kathryn Becker • Russ Belk • M. D. Bigger • Philip and Carolyn Brunelle • Donald Celender • Melisande Charles • Betty Chen and Peter Coombe • Kristin Cheronis • Elizabeth Childs • E. Philip Cordes • Sage and John Cowles • C. Fuller and Constance Cowles • Carol Daly • Dan Donovan • Lisa Elias • Kyle Fokken • Jane Frees-Kluth • Stephen Geer • Gita Ghei • Nancy Gipple and Kinji Akagawa • Elijah Goodman • Barbara Grygutis • Ralf Gschwend • Evan Haynes • David Jaworski • Jeffrey Kalstrom • Richard Kirk Mills • Ann Klefstad • Frederick and Maria Klein • Sue Kosmalski • Kaz and Ruth Kuroki • Mierle Laderman Ukeles • Vince Leo • Lucy Lippard • Robert and Nancy Lunning • Sandra Menefee Taylor • Gail Merriam • Laura and Philipp Muessig • Barbara Nei • Stuart Nielsen • Joyce P. Schwartz • Laurie Phillips • Patricia Phillips • Wayne and Virginia Potratz • Greg and Susan Rappaport • Patricia Rhoades and Bradley Kaspari • Julius Rosenwald III • Sara Rothholz Weiner • Jennifer Rowe • Rebecca Ryan • Jon and Lynn Schoonmaker • Denise Tennen • Gloria Tew • Susan Warner • Foster Willey, Jr. • Shelly Willis • Gary and Ann Wynia • Sharon Zweigbaum ADVERTISERS

4culture • Alliance of Artists Communities • Americans for the Arts: Public Art Network • Arts Council of Fort Worth & Tarrant County • Austin Art in Public Places Program • Austin Green Art • Blumenthal Sheet Metal • Brown & Keener Bressi • Cass Sculpture Foundation • The Center for Craft. Creativity & Design • Citi Arts • City of Dallas Public Art Program • City of San Antonio Public Art Program • Denver Office of Cultural Affairs • Derix Art Glass Consultants • Freeman/Whitehurst Group • Fulton County Arts Council • Kansas City Municipal Art Commission • Kristin Cheronis, Inc. • Metro Art • Metro Arts+Transit • Mosaika Art & Design • Museum Services • Myklebust-Sears • Phoenix Office of Arts Culture • Ray King Studio • Scottsdale Cultural Council • Sue Hartley Photography • Sunrise Systems, Inc. • University of Washington Press • USC School of Fine Arts • W.L. Gore & Associates • Western States Arts Federation

T H I R D

E D I T I O N

Artists Communities

In Need of Creative Time ?

A Directory of Residencies that offer T i m e and Space for Creativity I n t r o d u c t i o n by R o b e r t M a c N e i l â&#x20AC;˘

Artists Communities: A Directory

of

Residencies that offer Time and Space for Creativity is an indispensible tool for artists of all kinds. This book offers W ^ - - '

1

information on 347 programs in the US and across the globe, as well as firsthand accounts of residency experiences from accomplished artists and writers.

v

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' f l K

A L L I A N C E OF A R T I S T S C O M M U N I T I E S

For more information visit www.artistcommunities.org

I FORT

20 WORTH

Celebrating

PUBLIC

our Inaugural

ART

Installation

V e r n o n F i s h e r , Early Texas, 2005 Fort W o r t h C o n v e n t i o n C e n t e r

w w w . f w p u b l i c a r t . o r g

Kansas City has an exciting

Public Art Program! , <'4 ~ t

4 Buster Simp Jb Offenng Hal

Teny Allen Moden^^imuficarion

^

Kansas City Municipal Art Commission, Kansas City, M O

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Jgjin T. Scott Jozz Pantheon^

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www.kcmo.org/pubworks.nsf/web/art

0 IT I

FREEMAN WHITEHURST

ARTS Public Art and Urban Planning Consultants

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5 8 3 3 NORTH 30TH ST PHOENIX,

AZ 8 5 0 1 6

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602 602

Jennifer Murphy, President Public Art Master Planning Public Art Project Management and Administration Urban Design Planning Town and Streetscape Planning

Public A r t M a s t e r Planning

1820 Chatham Avenue Charlotte, NC 28205 jmurphy281@aol.com 704-347-4234 phone 704-347-4977 fax 704-236-7437 mobile

4CULTURE

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SUITE 200

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SEATTLE, W A S H I N G T O N 98104

206.296.8676

PUBLICART@4CULTURE.ORG

WWW.4CULTURE.ORG

S l i d e s are o u t .

D i g i t a l i m a g e s are i n .

The art of managing your calls for entry online.

Benefits to Public Art Administrators Manage application, administration and jury processes online • Save time and money with reduced data entry and mailing costs • Communicate instantly For more information on how with applicants • to license CaFE; contact: Streamline the jury process using highPhone: 8 8 8 - 5 6 2 - 7 2 3 2 resolution digital Email: cafe@westaf.org images instead of slides Web: www.callforentry.org

w Largo Lens. 2004 Largo Metro Station.Washington, DC 35' high x 25' wide x 4' deep

Western States Arts Federation

Sun Wall, 2005 Florida International University, Miami. FL 43' wide x 65' high

a u s t i n celebrates the natural environment with a city-wide t e m p o r a r y public art exhibition

S P O N S O R E D BY AUSTIN GREEN ART. THE REESE F O U N D A T I O N A N D MEXIC-ARTE MUSEUM

martha whittington - atlanta chris fennell - birmingham roisel ramirez - austin xochitl paredes - austin Virginia fleck - austin ross miller - boston sponsored by N e w England Foundation for the Arts, Fund for the Arts and A r t & Community Landscapes programs in partnership with the National Park Service

t h r o u g h an open call 1 artist sponsored by N e w Mexico Arts, a Division of the State Department of Cultural Affairs, A r t in Public Places Program Kathryn Minette, Program Manager, Santa Fe, NM

O P E N I N G J U N E 10, 2 0 0 5 w w w . a u s t i n g r e e n a r t. o r g "barn wave" 2000 Chris Fennell

Installation • Specialty Fabrication / y * Packing/Crating Shipments UJ Framing v j

Monthly East Coast Shuttle Conservation of all Media U J Climate Controlled Storage C Q Domestic/International ^ ^ Pedestal/Mountmaking

2921 Como Ave. SE M i n n e a p o l i s , MN 55414 museumservices@visi.com www.museumservices.org ph.612.378.1189 fx.612- 378-0831

MUSEUM

SERVICES

Metro welcomes David Allen as Director of Arts in Transit David comes to St. Louis from Minneapolis where he managed the successful Hiawatha Line Art Program

check our website for future projects www.artsintransit.org «is hi Catherine Woods, 2004 • Photograph: Catherine Cn

LAST P A G E WIND BLOWN ART

In

August

2004,

Cleveland

Public

Art,

in c o o p e r a t i o n w i t h t h e c i t y ' s Mall B e a u t i f i c a tion

78

Fund

and

ParkWorks,

installed

Briain

has been distorted, giving t h e s e familiar objects unnatural and i m p o s s i b l e f o r m s . T h e installation u s e d c o m p u t e r

modeling

T o l l e ' s FOR T H E G E N T L E W I N D D O T H M O V E

t o p r e d i c t t h e e f f e c t s o f w i n d p a t t e r n s o f f Lake Erie o n t h e

SILENTLY, I N V I S I B L Y , a t w o - y e a r

temporary

sculptural urns, no t w o o f which have the s a m e s h a p e . T h e

p u b l i c art i n s t a l l a t i o n

Mall B in

p r o j e c t w a s c o m m i s s i o n e d in h o n o r o f t h e 1 0 0 t h a n n i v e r s a r y

downtown Cleveland. The work consists of a

o f a r c h i t e c t D a n i e l B u r n h a m ' s 1903 G r o u p Plan for t h e city o f

series of sculptural u r n s â&#x20AC;&#x201D; m i l l e d f r o m high-

C l e v e l a n d , c o n s i d e r e d a n o t a b l e e x a m p l e o f t h e City Beautiful

located on

density Styrofoam, painted, and

polyurethane

c o a t e d â&#x20AC;&#x201D; w h o s e traditional neoclassical

shape

p e r i o d o f city p l a n n i n g a n d a r c h i t e c t u r e .

[Photo by William Carter.]

Leopard Sky by Artist Sheila Klein

Blumenthal Sheet Metal 1710 Burnett Street-Houston TX 77026 (713)228-6432 Fax (713) 223-3410 www.blumenthalsheetmetal.com

Leopard Sky is an environmental concept of artist Sheila Klein of Bow, WA. The work consists of 50 panels as leopard spots which are jeweled with convex mirrors and lights and suspended from a sky of gray and yellow, and swatches of denim.

Blumenthal Sheet Metal worked with the artist fabricating and installing a full-scale mockette of one panel, and assisted with the ultimate design implemented in the project before sucessfully winning the bid for the entire project.

Over 65,000 lbs of aluminum plate, tubing, and grip strut was used in the fabrication of Leopard Sky. Some 10,000 labor hours, over 1,000 mirrors, over 2,000 hanging rods, 100 gallons of paint, and 20,000 nuts and bolts create the the clouds suspended in the arrivals area of the Federal Inspection Station at Terminal E, Bush Intercontinental Airport, Houston Texas.

For information on the fabrication services of Blumenthal Sheet Metal please visit our website or contact us. Information on the artist and this project are available at www.sheilaklein.com.

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Sculptor Janet Echelman

Archival Material: GORE TENAR A Architectural Fiber Commission for Porto Portugal:" She Changes" ,US$1.6 million, courtesy of Florence Lynch "Gallery, www.gore.com/tgnara Tvww^chehnanxoirr