The Process of Art

ART IN PUBLIC SPACES

Public Works

Some of the grandest works of art are made not by a single person but by many people. It could be argued that the Pyramids in Egypt and Mexico are site-specific art, massive structures, built by hundreds of laborers under the direction of designers and engineers. Egyptian pyramids are tombs for individual royalty, while those in Mexico function as spiritual altars dedicated to gods or celestial objects. They are typically placed at a specific geographic sites and give definition to the surrounding landscape. Their construction is the cumulative effort of many people, and they become spectacular works of art without the signature of a single artist.

A more contemporary example of art making as a community effort is the AIDS Memorial Quilt Project. Begun in 1987, the project memorializes the thousands of lives lost to the disease through the creation of quilts by families and friends. Blocks of individual quilts are sewn together to form larger sections, virtually joining people together to share their grief and celebrate the lives of those lost. The project is evidence of the beauty and visual spectacle of a huge community artwork. Today there are over 45,000 individual blocks. The quilt project is ongoing, growing in size, and exhibited throughout the world.

The artists Christo and Jean Claude create large, often controversial, temporary, public works that were solely for the immediate aesthetic impact, intended to create a sense of wonder and joy, and help the viewer see something familiar in a new way. Their artwork took years (sometimes decades) to develop and prepare.

Christo and Jean Claude had to navigate political negotiations, get environmental approval and permits, work out the technical requirements, and get public approval for their installations. The pair refused grants, scholarships, donations, or public money, instead financing the work via the sale of their own artwork. I was lucky enough to experience The Gates in New York City -- it was an amazing experience. The installation definitely transformed the city!

Christo and Jeanne-Claude | orange gates set up throughout central park in New York city.

The Gates, installation by Christo and Jeanne-Claude, 2005; in Central Park, New York City.

© Samme Orwig

Some of the most powerful public works are found in small communities and reflect their story. One such site-specific work I stumbled on was the Nihonmachi Fence in Seattle, WA. The fence illustrates the growth, decline, and rebirth of the Japanese community. Here is a clip from King 5 News that takes you into the alley. It's worth a visit if you live in the area, for more information about this installation, check out the Wing Luke Museum.

JC05-6 Nihonmachi Alley & Chiyo's Garden - Images | Alabastro Photography

Nihonmachi Alley fence and Chiyo’s Garden: Lead artist Rumi Koshino, Lead Designer Yuko Kundig

Public Works - Process

Many artists collaborate with non-artists in arrangements designed to produce work for a specific place. Public art is a good example of this. The process usually begins with a select panel of the public and private figures involved in the project who call for submissions of creative ideas surrounding a particular topic or theme, then a review of the ideas submitted and the artist’s selection. Funding sources for these projects vary from private donations to the use of public tax dollars or a combination of the two. Many states have “1% for Art” laws on the books which stipulate that one percent of the cost of any public construction project be used for artwork to be placed on the site.

After the selection process the artist will commence on an intense collaboration with community shareholders, architects, engineers, public administrators, and others connected with the project, ultimately resulting in the installation of a public artwork. Because of its complexity this process needs to be expertly managed. Other countries have similar programs. All of them allow individual artists and collaborative teams the chance to put a definitive creative stamp on public spaces. Below, Flemish artist Arne Quinze’s public art work The Sequence.

The Sequence, Arne Quinze, 2008. Wood. Installed at the Flemish Parliament Building, Brussels.

The Sequence, Arne Quinze, 2008. Wood. Installed at the Flemish Parliament Building, Brussels.
This photograph has been released into the public domain.

Public art projects can be subject to controversy. It’s not easy for everyone to agree on what constitutes ‘good’ or ‘bad’ art, or at least what is appropriate for a public space. The issue takes on a more complex perspective when public money is involved in its funding. One example involves Richard Serra’s sculpture Tilted Arc from 1981.

Time, resources, a space to work in, a supportive public, a culture that respects skill, and values creativity and expression: all of these help an artists thrive and create meaningful work. What does an artist give back to society? They give voice to speak of those things that language cannot describe, and an experience that pays attention to aesthetics and an interest in the world. They give expression to what it is to be human in all its positive and negative forms.