May 26, 2005
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Do
we need funky bus shelters?
Debating the value, cost
of public art
by KATHERINE ALMY
What is "public art"?
Does Eureka need a public art policy? Those questions were posed
at a last Wednesday evening at a town hall meeting, an event
hosted by the Eureka Art and Culture Commission and facilitated
by Lynne Baer, a Bay Area art advisor.
Baer, who has worked with several
small communities to develop public art policies and to install
public art projects, began with a slide show of various kinds
of public art, starting with Michelangelo's David in Florence,
Italy, and including everything from park benches to large-scale
environmental installations.
What was striking was the range
of public art. It is surprising what a creative person or group
of people can do to jazz up seemingly mundane items. One "installation"
featured arty picnic tables, another was wrapped around a tree,
another incorporated a little bridge with steps going up and
down it. One table even had a children's slide built into it.
Based on experience with my darling 2-year-old, a child's play
structure and a place to put food are not necessarily a good
mix, but it looked cool.
One community came up with sculptural
drums, which look like art and can be banged on by anyone with
an inclination to do so. Wouldn't Eureka's merchants love something
like that in Old Town? Another city created a series of bus shelters,
each unique, include one made from half of a '56 Chevy -- you
sit on the back seat to wait for the bus. And then there are
the large-scale nature works, like "Watershed," an
88-mile stretch of the Hudson River Valley that includes various
installations about the history and environment of the area.
Public art can be a source of
civic pride and it often commemorates people or events. It can
be functional or controversial or simply pleasing to the eye.
Many communities have actively participated in creation of public
art works; others simply hire an artist to create a work. Public
art can be permanent, as in a commemorative statue or a mural,
but it can also be temporary, or even a onetime event, like "The
Gates," Christo's recent installation in New York's Central
Park.
Eureka has quite a lot of public
art already, much of which is well known to residents, some of
which is pretty obscure, but there is no formal process for planning,
implementing and paying for public art installations. Wednesday's
meeting was a first step towards creating such a plan.
Of course, there is always the
question of why a public art policy is needed. A policy can help
clarify many issues involved in planning a public art installation.
It can also help eliminate "reinventing the wheel"
each time a project is being considered. Public art policy can
also stifle spontaneity and make the process unnecessarily cumbersome
for artists seeking commissions.
The process for installing public
artwork is more involved than it might appear on the surface.
There is more to it than simply finding an artist and coming
up with an idea. A community should be in reasonable agreement
on what kind of art it would like to have, although, as Baer
points out, there can never be a guarantee that a piece will
not generate controversy.
How to fund the art is another
issue. Many communities across the nation have a "Percent
for Art" program in which those planning new construction
must designate a predetermined percent of their building budget
to art, but these programs have their limitations. The Eureka
Arts and Culture Commission tried to implement such a program
here several years ago and failed. Baer points out that such
programs leave art under-funded when times are tough and there
is not a lot of new building happening. It also doesn't fund
temporary or event public artworks, which can be a vital part
of a community. Baer suggests a line item in the city budget,
a plan that proves a community's ongoing commitment to the arts.
This idea may be a tough sell
for those who feel that the arts are a "frill." We
all know that we have to pay for garbage services and street
repairs, but it is difficult to put a value on something like
public art.
In fact, its value may be best
understood by its absence. Common sense tells us that there is
a certain quality of life that comes about when you surround
yourself with beautiful and interesting things. If we want nice
things to look at, we must accept that the creation of those
takes planning and funding. It remains to be seen if that planning
will be better served by developing a public art policy.
Katherine Almy holds a BA
in art history from Humboldt State University and a master's
in arts administration from the University of Oregon. She has
lived in Humboldt County for over a decade and appreciates the
natural beauty of the area as well as the creative spirit of
the people here.
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