[TheForge] Public Art

[Andrew Vida]

RIES NIEMI wrote:
> 
> Andrew- you raise some interesting points, which I am always willing to
> discuss, as this is a subject I think about all the time.
> 
> First- right now I am putting together a slide show for the abana conference
> dealing with one specific thing- how blacksmiths are getting involved in
> public art commissions by governmental agencies.

	This has been discussed much over on artmetal.  You may want
	to subscribe there awhile and talk to guys like Heath Satow,
	Bruce Fink, and Hank Kaminsky.

	The late Chris Ray, at one time during the 70s, was doing
	all manner of this sort of thing.  I don't recall that he
	left any details on how he went about gatting such work. :(

> For the purpose of that particular discussion, I am limiting my scope to
> public commissions that are open to anyone who wants to apply.

	OK, understood.
> 
> The idea of guerilla public art is actually one I have been interested in
> since the mid 70's, having done quite a few pieces myself.

	Keith Haring was a big practitioner of this, though in
	different media.  He used to do his art in white chalk 
	in the NYC subways.  In fact, I used to augment and alter
	them after awhile just for kicks.  I wonder what those
	ephemeral works would be worth these days...

> I have done
> billboard alterations, left pieces out in public places I no longer wanted,
> and created anonymous pieces I screwed onto buildings, etc.

	That sounds like an awful lot of fun.

> I would love to see someone document and collect examples of this sort of
> public art, particularly in metal.

	That could make a cool book.
> 
> >
> > Not all official public art is loved, liked, or even accepted.
> 
> Thats for sure, and of course it is true about everything any artist or
> craftsman makes. There have been some famous examples of public art being
> removed, often for political reasons.

	The most recent was the tearing down of the large bronzes
	of the almighty Saddam.

> However, much of the forged work being
> done for public spaces is loved by the people who have to live with it.

	That's because it's blacksmith work and everyone knows
	we're special.

> People relate to craftsmanship, tactile surfaces,

	One of the great advantages of iron in public art is that
	it is very durable and can withstand a lot of touching,
	unlike a painting.  I don't think the Mona Lisa would
	have fared very well had the museums put a "Please do touch"
	sign next to it.

> and historical techniques
> a lot more than to minimalism or conceptual art. 

	People like real things.

> Again- fabricating designs of others is the way lots of smiths make a
> living- I have done my fair share of it myself. Its just not the subject I
> am going to talk about on this one day.

	OK, now I understand.
> 

> One of the reasons I feel qualified to talk about this subject is that I
> have a lot of experience with the making of this particular sausage, from
> all ends. I have been making sculptures in the "public art" category since
> the late 70's, with over 20 completed projects. I have been rejected from
> tons more, and short listed but not chosen from another 30 or so. I have
> also been on juries to select public art. I know a lot about the actual
> dirty truths of the politics that you are speculating about. Unfortunately,
> its usually more complicated, mundane, and political than the juicy
> corruption or scandal one would hope for. For instance, "officials" often
> have little or no say in deciding who gets these jobs. The juries usually
> consist of neighborhood folks, or people who work in the building being
> constructed, the architect, and some local artists. The actual
> administrators usually dont have a vote, although there have been cases
> where the mayor or city council member, seeing potential publicity, shoots
> down a project after it has been selected.

	Interesting.

> Again- I am discussing actual case histories of commissions real blacksmiths
> have gotten. How they got them, what the competition was, budgets, political
> realities, profits or lack of them, public response, durability and
> lifetimes of real stuff people really made.

	Ah, OK again.  I did not get this from your initial post.

	Thanks,

	-Andy