Paired Partner Research : Andy Menzel, Luke Staten, Emmalee Warren

 Paired Partner Project

For our shared blog we choose to talk about public art and its impact not only on people but the space it inhabits. How this space and the art in it interact is a big choice when deciding to make public art. Many examples of public art have either become outdated or received in negative lights because of how they interact with their environment and audience. Perhaps our love of public art comes from the fact that humans exist within an environment and so we want to be able to experience it better. If we look at a painting, we are only using our sense of sight or maybe touch (although you can’t touch museum paintings nowadays). But public art is different. You can walk around, sometimes smell it, or even hear noises that it makes caused by its presence or design. In short, this type of artwork immerses the viewers more and so they feel more connected with the art. 

Outdoor public art has the ability to interact with both the public and the physical area it exists in. While artwork that is displayed in indoor spaces can be limited in who it interacts with and the space surrounding it, outdoor artworks can engage with a more diverse crowd and gives the artist the opportunity to experiment with integrating the artwork into the public space. One example is husband-and-wife duo Christo and Jeanne Claude’s The Gates. The piece was a series of large, 16-foot steel arches with orange banners hanging from them. Over 7,500 gates stretched the parameter of New York City’s Central park for 16 days, highlighting the diverse collection of walkways within the park and its accessibility to its visitors’ transportation methods. Of course, the piece not only interacts with the park’s walkway system, but also the surrounding nature. Due to its installation being in the winter, the banners’ bright colors and jagged, unnatural edges caused them to stand out against the snow and the park’s muted color. The gates seemed devoid of a larger political message, and instead, focused on pulling the public in to be a part of and explore the park’s space for the short time it was displayed.Christo and Jeanne-Claude. The Gates. 2004. Gate bases varying in weight from 613 to 837 pounds; Gates stand 16’ tall and weigh around 135 pounds; Gates range in width from 6’ to 18’. https://jstor.org/stable/community.14215604.

One of public art’s main aspects is that it is in direct communication with the public landscape. Compared to artwork that mainly exists in a private gallery or museum space, public art has a much larger audience and interacts with a multitude of communities. Being located in communal spaces allows for diverse interpretations of the both the piece’s formal elements and intended messages. Public art demands public participation. Public participation can be general engagement, such as appreciation and discussion, as well as assisting in the installment or maintenance process of the piece. How the public chooses to interpret and engage with a piece of public art can determine its permanence and how future viewers interact with it.

The community project in Hydaburg, southeast Alaska, where a new cultural center incorporates traditionally designed and carved 'house posts,' exemplifies the powerful connection between public art and cultural identity. The totem poles, serving as a form of public art, play a pivotal role in expressing the social identity and family connections of the Haida Nation in Hydaburg.

Public art, in the form of these totem poles, has long been an integral component of the local culture and identity. As TJ Young, the master carver, describes, "The art form [of the totem pole] was our written language. We were able to read them like a book. We knew exactly who that family belonged to just by looking at the design".The totem poles convey a profound narrative about familial ties, social structures, and community history, offering a unique and visual way for individuals to connect with their heritage. The new cultural center project, overseen by the Hydaburg Cooperative Association and funded by a 2017 Art Works grant from the National Endowment for the Arts, contributes to the preservation of Haida art and also serves as a beacon of education. It becomes a platform for sharing cultural knowledge through an apprenticeship program and carving classes. This engagement with public art becomes a dynamic educational experience, helping to foster a deeper understanding of heritage among the local community.

Young, TJ. 2018. https://www.arts.gov/stories/magazine/2018/2/community-art-look-public-art-america/cultural-identity-through-public-art.

Additionally, the public nature of the carving classes and community project creates a space for dialogue and discussion that extends beyond the art realm. The totem poles become a starting point for conversations about family, clans, and crests, which reinforces a sense of communal identity. Young's observation that people are "far more likely to talk about their families" speaks to how public art can act as a communal touchpoint, sparking meaningful interactions and connections among community members. The inclusivity of the project, aiming to feature every crest in the Hydaburg community, further emphasizes the role of public art in celebrating diversity and honoring the legacy of families. It becomes a communal effort to pay homage to those who have passed on, creating a collective memory in the public spaces of Hydaburg.

The dedication ceremony, marking the conclusion of the Haida house post project, symbolizes the integration of public art into the community's narrative. The nine-foot carved totem poles displayed in the new cultural center become not just artistic artifacts but storytellers, sharing the rich family history, traditions, and artistry of the Haida Nation with locals, visitors, and future generations. This connection between public art and cultural identity symbolizes the transformative potential of artistic expression in shaping and preserving narratives in a community.

Such closeness to the public will inevitably cause public art to fall under controversy. A public work that was subject to constant debate is Kalamazoo’s Fountain of Pioneers. The fountain was designed by the sculptor Alfonso Iannelli and constructed in 1939. At the west end of the fountain there are two statues that form a tower together, one of a settler and one of a Native American facing each other, with the Native American statue standing outside the fountain. The fountain has a direct physical interaction with the public, as it affects the park’s design and how people move throughout it. The lights within the fountain illuminate the water at night, providing the public with a unique aesthetic interaction during the day and night. While the formal elements of the fountain compliment the park’s layout, the intention of the fountain has been under constant criticism since the 1980s. Many of those who called for the fountain’s removal claim it is a show of racism and white superiority. The position of the Native American statue is lower compared to the statue of the pioneer, making it appear as though they are kneeling as the pioneer continues his westward expansion. Many have also pointed out that the headdress on the Native American figure is inaccurate to the local area and question whether Iannelli was referencing local history or displaying a stereotype. Those who were in favor of preserving the fountain argue that its removal is similar to erasing local history. The piece remained a controversial topic until 2018, when the city commission voted to finally have it removed. The Fountain of Pioneers doesn't just demand an aesthetic appreciation, but also a deeper discussion about the artwork’s message and local history. Inevitably, the discussion around the fountain’s controversy is what led to its removal.

Alfonso Iannelli. Fountain of the Pioneers. 1937. https://jstor.org/stable/community.15685320.

Rhea Nayyar details the unveiling of the "Shadow of a Face" (2023) monument in Newark, New Jersey, dedicated to Harriet Tubman. The monument was designed by native artist Nina Cooke John, installed in Harriet Tubman Square and pays homage to Tubman's legacy as well as Newark's role in the Underground Railroad. The renaming of the square on Juneteenth 2022, and the removal of a Christopher Columbus statue in 2020 showed Newark's commitment to embracing a more inclusive and representative public art narrative.

Melgar, Cesar. 2023. Nina Cooke John’s “Shadow of a Face.” https://hyperallergic.com/807193/harriet-tubman-monument-unveiled-in-newark-new-jersey/.

Mayor Ras Baraka highlighted the significance of the monument, stating, “In a time when so many cities are choosing to topple statues that limit the scope of their people’s story, we have chosen to erect a monument that spurs us into our future story of exemplary strength and solidity.” This decision reflects focus on creating public art that represents and honors an updated historical narrative. Nina Cooke John's design aims to engage visitors physically and emotionally. In an interview with PBS, she expressed, “What I’m hoping for is for people to really connect with Harriet Tubman on a personal level and see her more as an everyday person who did heroic things.” This emphasis on personal connection aligns with the transformative potential of public art, turning monuments into interactive and emotionally resonant experiences.

"Shadow of a Face" becomes a symbol of public art not only for its aesthetic value but for its interactive nature. The enormous welded outlines of Tubman’s figure and the wraparound structure, coupled with educational text and ceramic mosaic tiles created by Newark residents, contribute to a multi-sensory experience. This aspect of resident involvement and personal storytelling through audio recordings enhances the monument's role in connecting Newark’s Black history, present, and future to the public. The "Shadow of a Face" monument in Newark exemplifies the potential of public art to actively engage with the community, representing an inclusive narrative, and fostering personal connections to history. 

Perhaps one of the problems of public art is that it often doesn’t consider all of the data of the surrounding area it’s in, rather it is viewed as a simple solution instead of the more experimental idea it was meant to be. A good example of a public work that many would consider does enhance its environment would be Jeff Koons flower dog. This massive structure was first built outside a castle in Arolsen, German and this fact actually helps the statue in a few significant ways. The first and most obvious way is the clashing aesthetics at play. One is a steel structure with very sharp inorganic lines while the other is a structure that is covered in beautiful flowers with very soft lines and curves. In an interview, Koon goes on and explains why he created the piece as well as why he chooses the specific dog breed, however in the article he makes another intriguing point that perhaps many of us have forgotten or simply never realized. In the modern-day art has sort of become obsolete, not in the sense that it doesn’t matter any more and that everyone who’s an artist should quit their job. Rather, in a sense that the environment has shifted and the wealthiest people are the tech people (Solomon 15). The artist states that he wants to make art that pumps energy into people and that you would want to rescue if you were in a burning building. Perhaps many artists nowadays, especially younger artists, must ask themselves questions like these. They are important and perhaps many artists who make public art have asked themselves questions along those lines as they made or designed their works.

Jeff Koons. Puppy. 1992. Stainless steel, soil and flowering plants, 40 feet 8 3/16 inches x 27 feet 2 3/4 inches x 29 feet 10 1/4 inches (12 meters 40 cm x 830 cm x 910 cm). Guggenheim Bilbao Museoa. https://jstor.org/stable/community.14578476.

Bibliography

Alfonso Iannelli. Fountain of the Pioneers. 1937. https://jstor.org/stable/community.15685320.

Christo and Jeanne-Claude. The Gates. 2004. Gate bases varying in weight from 613 to 837 pounds; Gates stand 16’ tall and weigh around 135 pounds; Gates range in width from 6’ to 18’. https://jstor.org/stable/community.14215604.

“Cultural Identity through Public Art.” n.d. Www.arts.gov. https://www.arts.gov/stories/magazine/2018/2/community-art-look-public-art-america/cultural-identity-through-public-art.

Helphand, Kenneth. “Flags over the Greensward.” Landscape Architecture 95, no. 5 (2005): 126–35. http://www.jstor.org/stable/44675488.

Jeff Koons. Puppy. 1992. Stainless steel, soil and flowering plants, 40 feet 8 3/16 inches x 27 feet 2 3/4 inches x 29 feet 10 1/4 inches (12 meters 40 cm x 830 cm x 910 cm). Guggenheim Bilbao Museoa. https://jstor.org/stable/community.14578476.

Larson, Catherine. “Fountain of the Pioneers.” Kalamazoo Public Library, 2013. https://www.kpl.gov/local-history/kalamazoo-history/parks/fountain-of-the-pioneers/.

Melgar, Cesar. 2023. Nina Cooke John’s “Shadow of a Face.” https://hyperallergic.com/807193/harriet-tubman-monument-unveiled-in-newark-new-jersey/.

Nayyar, Rhea. 2023. “Harriet Tubman Monument Unveiled in New Jersey.” Hyperallergic. March 9, 2023. https://hyperallergic.com/807193/harriet-tubman-monument-unveiled-in-newark-new-jersey/.

“PROJECT 10: JEFF KOONS – Kaldor Public Art Projects.” n.d. https://kaldorartprojects.org.au/projects/project-10-jeff-koons/.

“Recent Controversy · Controversial Public Art · Public History.” n.d. Hst4080.Omeka.net. Accessed December 1, 2023. https://hst4080.omeka.net/exhibits/show/controversial-public-art/fountain-of-the-pioneers/recent-controversy.

Young, TJ. 2018. https://www.arts.gov/stories/magazine/2018/2/community-art-look-public-art-america/cultural-identity-through-public-art.