AK Supply 014 - Public Art I

Artists who know that I have worked in the public art sector often ask me how to break into the public art field and artists I know who do public art are always asking me how to get a gallery. Such are the ways of the art world. Much more of a tradition in Europe (from the folks that brought you Trevi Fountain, David and the Arc de Triumph.) public art around here in America brings to mind behemouth sculptures of men on horseback, sitting in chairs or standing around waving a shot-guns. The history of public art until recently is primarily one of religion, politics, money and immortality. I couldn't possibly explain what is and what isn't public art - this is a contentious and fruitless debate. For the sake of scratching the surface, here is what I know about public art in a nice bite sized chunk. "Public Art" is a wide ranging term which can encompass a little neighborhood mural done with the local kids from the street to monumental projects like the Vietnam War Memorial by Maya Lin. It's a catchall for every thing art that transpires outside the studio, museum or gallery and in my opinion is a loosely defined, misunderstood and under explained artistic specialty.

Public art ranges in quality from things like "Cows on Parade" (overly decorated, kitchy fiberglass cows on city streets, unfortunately replicated in other cities across the country with other animals) to five story Picasso sculptures to interactive sound installations. I've heard some particularly venomous unhappy folks compare public art in it's ever increasing presence to muzak but everyone has to look down their noses at something don't they? The point here is that the opportunities to get your work out in public are many more than they used to be and the big secret about getting public art commissions is that there is no secret. There is absolutely no secret society, no secret handshake and masters degrees to be had. For better or for worse just about any artist can make public art or compete for a commission.

First I'll warn you that even though public art projects may sound like a great way to get a lot of money for one brilliant idea they can be a ton of work, involve a lot of compromise and many headaches. There is a nice little article online "Notes for the Public Artist: What's expected of a public artist?" by Douglas MacCash which sums things up nicely. All that said, the best way to get involved is to keep your eye on your local government's art agencies listings, Artswire, places like the Art Deadline's List, The Public Art Review and the internet. Large transportation networks in major cities also have public art departments like the large and often excellent Arts for Transit program here in New York. Get an idea of what kind projects are out there and get familiar with the requirements. As I mentioned in a previous column, most cities and states have a "One Percent for Art" policy which sets aside 1% of any construction project for art. Most of these projects are competitive and a group of artists will be presented to a selection committee. Often a public art consultant will pull together a group of artists known to them or look for artists by subject matter, materials, etc. in a slide registry. Occasionally they will get slides and information on an artist from their gallery but not very often. Galleries often can't profit from public works as the artists are paid as contractors and not for the finished piece. This may be why the realm of public art lies outside the art economy. Most large cities and state agencies maintain a public art slide registry which anyone can be in. Here is a little insider information. If you put your work into a registry that serves public art programs or consultants they might be showing your work to panels without your knowledge. I know it makes you feel a little dirty just but knowing you may receive a call out of the blue offering you the opportunity to pitch your ideas makes up for it. Once you have decided to apply (or get invited on the basis of your slides!) always bounce your ideas off friends and family or better yet perfect strangers to double check that your ideas are coming across to clearly, especially to those who do not hold advanced degrees in art and those who will be subjected to your masterpiece, perhaps forever - i.e. The Public.

There are plenty of artists working in public and not specifically as "public artists" as more organizations and government agencies work to bring art of all kinds to the public rather then trying to get butts into museums and non-profit spaces. Creative Time here in New York does a bang up job utilizing unusual spaces and presenting works in unexpected locations. The Public Art Fund presents a mixed bag of more traditional sculpture works and site specific installations. In the past 30 years the scope of "public art" has broadened to include temporary and ephemeral work, interventions, video and even live performance. Adventurous artists have also been known to initiate many a public art project on their own, renting billboards, painting on walls that don't belong to them, filling the street up with sand etc. I would encourage you all to start by thinking how your own fabulous work might manifest itself in public spaces and then work from there. I have barely touched on a number of larger issues here not to mention all of the furious debates which surround the wide world of public art. In Public Art Part II I promise soon to bring you some sage advice from some qualified professionals in the field. Until then my sweets, have a good look around on your travels through your towns, cities and burgs and see what is there and imagine what could be.

Mistress Esa