Public Art Conference Archive—2002
Session Notes: Essential Program Partnerships
Dialogue Leaders:
Cynthia Nikitin, Projects for Public Spaces, Inc., New York, NY
Dian Magie, Center for Craft, Creatvity and Design, Hendersonville, NC
Tad Savinar, Artist, Portland, OR
Cynthia Nikitin's Remarks
Ms. Nikitin (URBAN perspective) began the dialogue by reading excerpts from a politician’s report on How Your Tax Dollars Are Being Spent. Unfortunately few delegates were surprised by the mention of arts activities in the schools listed to indicate a waste of tax dollars.
Art is no longer viewed in this country as a significant component of public education. In most cases, it is no component at all and its inclusion as such is considered a waste of money. Because of this mind set, the youngsters have no exposure to arts education, do not learn to value art, and won’t support it as adults. Museums have a difficult time raising money to support programming and facility expansion because in most communities there is no real tradition of supporting visual arts. And what about public art? There, too, is no tradition and no sense of true value. The primary reason for this is the lack of a widespread base of public support. Artists must be able to communicate larger and global messages to the general public.
Several outstanding examples of public art that “doesn’t work” were shown and discussed. Though most were fine works of art, the key factor in their “not working” was that the public was not meant to be engaged or even invited into the work. Public art must support human interaction and experience with the art. The art needs to support the place and the place needs to support the art. A good diagram was shown that defined the things that are necessary in order for public art to be successful. This diagram may be found at www.pps.org. The four necessary components to consider are:
- sociability (ownership, friendly)
- comfort and image (safe, clean, possibly coffee nearby, etc.)
- access and linkage (flexibility, continuity, convenient)
- uses and activities (destination by itself, easy to get to, connected).
Partnerships are essential to public art. They are often necessary as funding mechanisms, but public art needs to be tied to the very core of our society—transit systems, schools, libraries, federal buildings, parks, roads, and public spaces.“ This is done by understanding the goals of the institutions that are stewards of our city’s infrastructure and the built environment and by demonstrating that the arts are engaged, not isolated, not an add on but a value added, not concerned simply with answering to its own god or appeasing its own ego, but that art is there to serve the greater good and to imbue meaning and relevance into the public realm.”
The following provocative questions were asked by Ms. Nikitin, "Does it really matter what the art looks like, or that it may not hold to our notions of aesthetics and artistic excellence if it achieves larger objectives? Do we have the luxury of snobbism with which we have been so relentlessly branded by this class-averse democracy of ours?"
To make a public art partnership successful, all partners must understand; then demonstrate that the art is a meaningful added value. Some excellent slides were show of public art that “does work.” In these spaces, the artists clearly considered how the sites were used rather than only considering the sites as venues for art.
Project examples included New Haven’s Artspace partnership with the Connecticut DOT; a small rural community revitalization project in upstate New York in which partnerships among many groups let the arts be the key to the resurgence of Main Street; and a project with Urban Arts in Memphis that brought together all city agencies to work together in integrating public art into many facets of life in that city.
Percent for art programs mandate partnership and formalize it—but more in the spirit of an arranged marriage. It’s up to the art program to nurture that partnership and shape it so that it fits each partner agency and supports the work of that agency. No two partnerships or outcomes will be the same because no two partners will have the same goals for the outcome of their partnership.
The closing thought: “If we think about how art can help turn a place around and if artists begin to see themselves as partners and community resources for creating and sustaining places, public art will assume its rightful spot—in our schools, our cities, and our lives—and will create the places that do build community, where great art contributes to place, and place supports art.
Dian Magie's Remarks
Ms. Magie (COMMUNITY perspective) began with a reference to a favorite book—Highbrow Lowbrow, the Emergence of Cultural Hierarchy in America by Lawrence W. Levine. This book gives a thorough documentation of the changes in cultural attitudes in the 19th and 20th centuries when art of all disciplines moved from the democratic to the sacred.
The WPA program created public art that was part of the urban fabric—not just for the middle classes but for everyone—for the public. This public art brought creativity to the urban environment as it touched the lives of everyone who came in contact with it. Just as the WPA, the percent for art projects for the past three decades have been value added to the design of streets, bridges, public buildings, and public spaces.
There are states who have mature public art programs, but many states have no such program or they are just beginning the process. It is generally agreed that communities want neighborhoods to have a sense of ownership and pride in public art, but can that be coupled with asking the artist to "shoot a little higher than work that is easily embraced by neighborhoods?"
Youth art programs are about education and appreciation. Involving youth in any of the arts is “audience development” for the future. An example was given of a youth arts project completed in Oro Valley, Arizona. The project received a national award for a trail head marker. This summer youth art program led the town to adopt a percent for art ordinance in public and private development.
The arts administrator’s role is difficult—it is to find a balance. Know what type project is appropriate where. Know when to empower the neighborhood and when to place an artist on a design team.Know when to have work that challenges and inspires above all else. Public art that can only be appreciated by experts and art critics is not public art.
It is crucial to balance quality, community, and a training ground for emerging artists.It will not work if only one of these elements is the total focus.
Cities new to the public arts arena may choose to develop partnerships with less challenging projects at first, raising the level of understanding and appreciation.
The process of selection for public art is very important. Ms. Magie agreed with Mr. Savinar’s recommendations on the process. Selection of the panel is crucial to the ultimate outcome of the work.
Closing thought: With each project you make the environment more interesting for your community, and perhaps each project moves someone to experience the wonderment of creativity—whether as a child, a parent, or senior citizen. If it is successful with critics but a failure with the community, what public are you serving?
The delegates had the following questions:
- Regarding taking things to the next level, how do you educate to make that happen?
If it’s going to be art, make it great art. It must meet all criteria in the urban realm and must meet urban needs and connect with the community. Make a distinction between art and something else such as graphic design or youth art education. - Briefly explain the process with partners. Establish partnerships. The needs of both the neighborhood and the place must be addressed.
Listen and determine all the needs. Put the power of project goal determination in the hands of the user group.Put the power of creativity in the artists’ hands. There must be trust.The artist cannot create a shopping list, but must address a greater universal message that will endure. - How do you deal with a selection panel you don’t choose (a politically appointed panel)? How do you get them connected?
Training for the panelists is crucial. There should be a solid orientation and education. This can be tough because often panels are made up of businessmen who don’t have time to get really involved. An excellent facilitator is needed—one who can give panelists specific rules with which to operate. Panelists should be made aware of the importance of involving all the stakeholders; and the goals must be clearly stated from the first. - Who decides what the “label” is for a work?
There are different programs that should be identified as such rather than calling every project public art. The great feeling one gets from a wonderful piece of art is not the same feeling one gets from a whimsically painted manhole cover. These are clearly two very different things.
People get their art where they can.
In Australia, public art and community art are very different programs, yet sometimes they overlap.
A key role of both the artist and the panel is to push for a higher level of excellence in design.
