Thesis Research

Source: National Endowment for the Arts Web Site

http://www.nea.gov/resources/Lessons/PALLY.HTML

by Marc Pally

“The field of public art is a relatively young one with roots that can be traced back to the creation of percent-for-art programs. Public art, broadly defined, encompasses artwork placed in a public context—on the street, in a park, on the exterior of a building, within the common spaces of a public building and so on. The history of public art is enormous and includes commissioned art as well as art initiated by artists. Planning efforts for public art are, not surprisingly, almost exclusively directed toward official activities: government sponsored programs that either depend on mandated allocations (e.g. one-percent of capital improvement project budgets or private development projects), or that encourage voluntary participation through incentive programs or through the power of persuasion and mutual benefit.

The variety of circumstances that constitute the public art field is one of its strengths and presents administrators with challenges in developing appropriate administrative structures and funding strategies. There are precious few models that can be duplicated safely. The idea of site specificity, which is basic to public art, must be incorporated into the planning process itself. Points of view vary tremendously and must all be given a respectful hearing before a responsive and useful plan can be produced.”

Source: Public Art, Public Controversy

pg. 35: “The terms of Serra’s contract were adapted from a form the GSA uses for contractors and suppliers generally. The larger part of the contract consists of federal procurement boiler plate. The contract contained little to suggest that the complex legal relations involved in the projects. More important, omitted was what Serra contends was his inducement for entering into the contract: the promise that the work would be permanently installed at its site. Serra’s lawyer at the time of the contract negotiations, along with all the government employees connected with the program, testified that a permanent work of art was to be chosen, built and installed at this site. The argument was not only that Serra was given an explicit oral promise of permanency, but also that the GSA’s policy, usage and practice implied that his sculpture would not be altered or distorted. Serra contends that this promise of permanency was a valid and enforceable oral agreement intended or implied as part of his contract, and that removal and/or relocation of the sculpture constitutes a breach of contract.”

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Source: Public Art, Public Controversy

pg. 34, from the 1979 King County (Washington) Arts Commission:

“Under the policy, a work of art may be considered for deaccessioning if one or more conditions such as the following apply:”

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Commissioning
Conservation
Maintenance
Deacquisition

Source: Public Art, Public Controversy

pg. 18
The Commissioning of a Work of Public Sculpture
by Judity H. Balfe and Margaret J. Wyszomirski

“...the interests involved in public art commissions are not only more numerous, but often arise from collectivities that are themselves variegated and diffuse.”

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Source: Designing the World’s Best Public Art

pg. 13: “...I suppose that the Airstream [trailer] was my first experience of American public art. After all, it accomplishes in a practical way, just about everything I have heard anyone want from a public artwork. It is visually stunning, an American icon, historically based, made of a durable material, requires little maintenance, is somewhat inexpensive, and does not offend the political, religious or moral sensibilities of too many people.”

Garrison Woods
Professor of Fine Arts, Area Coordinator of Sculpture, University of Colorado, Boulder, Colorado, USA