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Universiw Micrailnns International INFORMATION TO USERS Tills reproduction was made from a copy of a document sent to us for microfilming. While tiic most advanced technology has been used to photograph and reproduce this document, the quality o f the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2 . When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand corner o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. UniversiW M icrailnns International 300 N. Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1321001 RIDGE, ANN BEHIND PUBLIC SCULPTURE THE AMERICAN UNIVERSITY M.A. 1983 University Microfilms I nternetio nel300 N, zeeb Road, Ann Arbor. MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark ^ 1. Glossy photographs or pages 2. Colored illustrations, paper or print_____ 3. Photographs with dark background _____ 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy 6. Print shows through as there is text on both sides of page 7. Indistinct, broken or small print on several pages J 8. Print exceeds margin requirements_____ 9. Tightly bound copy with print lost in spine ___ 10. Computer printout pages with indistinct print 11. Page(s)___________ lacking when material received, and not available from school or author. 12. Page(s)___________ seem to be missing in numbering only as text follows. 13. Two pages numbered ___________ . Text follows. 14. Curling and wrinkled pages ______ 15. Other University Microfilms International Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEHIND PUBLIC SCULPTURE by Ann Ridge submitted to the Faculty of the College of Arts and Sciences of the American University in Partial Fulfillment of The Requirements for the Degree of Master of Arts in Performing Arts Signatures of Committee: Chairman: 7 / / a /u.. Dean of the College \ .Id. Daté 1981 The American University Washington, D. C. 20016 THE AMERICAN UNIVERSITY LIBRARY j |^'3 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEHIND PUBLIC SCULPTURE by Ann Ridge ABSTRACT In the past thirty years public sculpture in Chicago has become a widespread phenomenon. Due to the size, materials and installation costs of public sculpture considerable expenses are incurred. Simultaneously, many relationships are necessary to conceive of and implement such projects. The purpose of this these is to determine how public sculpture is funded. The most prominent categories of funding are in­ dividual donations and commissions, government funding, foundation grants, corporate funded projects and loans. Of thirty-eight pieces of sculpture researched, ten were individually funded, six corporate sponsored projects, six government commissions and four were the result of foun­ dation grants. Thirteen institutions acquired sculpture on permanent or short term loans. Fifteen different variables pertaining to the mechanics of the acquisitions were consistently present. Reproduced with permission of the copyright owner. Further reproduction profiibited witfiout permission. varying radically according to the circumstances and the relationships of the donors, recipients, the artists, and the influence of the architects. Reproduced with permission of ttie copyrigfit owner. Furtfier reproduction profiibited witfiout permission. ACKNOWLEDGMENTS This paper was born of sheer curiosity. Words cannot express the profound thankfulness I feel toward my father and mother, my good friend Michael, and Esther. Their constant sup­ port, love and open ears carried me through. 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONTENTS ACKNOWLEDGMENTS............................... ii Chapter I. INTRODUCTION........................... 1 Scope, Purpose and Method of Research II. INDIVIDUAL GIFTS AND PURCHASES OF SCULPTURE............................ 7 "Construction in Space", Grande Disco", "Oreillart", "Aileronde", "Pulchinella II", "Diagolo", "Armonia", "Why?", "Horse", "Rouge Coquille" III. GOIŒRNMENT FUNDED SCULPTURE ....... 33 "Flamingo", "Batcolumn", "From Here to There", "Our King", Percentage for Art, City of Chicago IV. CORPORATIONS AND PUBLIC SCULPTURE .... 59 "Untitled", "Chicago Totem", "Dynamic Pyramid", "Bather", "Arris" V. FOUNDATIONS AND SCULPTURE ........ 81 "Head of a Woman", "Four Seasons", B. F. Ferguson Fund, "Nuclear Energy", "Celebration" VI. SCULPTURE ON L O A N ...................... 104 "Reclining Figure", "Grande Radar", "Mobius Triangle", The Albank Sculpture Garden 111 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VII. GOVERNORS STATE UNIVERSITY .............. 115 VIII. CONCLUSIONS........................... 126 CHARTS .... 135 APPENDICES ................................... 138 BIBLIOGRAPHY ................................. 182 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I INTRODUCTION In recent years, public art, particularly public sculpture has become an important art form in America. Municipalities across the country have participated in an enormous effort toward this trend. Acting in accordance, Chicago has met the challenge of collecting sculpture for outdoor spaces with great enthusiasm. The downtown Chicago plazas have become permanent exhibits of works by Picasso, Chagall, Noguchi, Oldenberg and Bertoia. The city's many university campuses have become landmarks for their collections of work by internationally known sculptors. Works by Chicago artists are found in every imaginable neighborhood, public building complex, civic center, park and thoroughfare. "Chicago has in fact developed over the last decade or so into a major center for public art of mammoth size. And despite the diversity of the factions behind public sculpture commissions, there has been an "...effort of big Chicago patrons to turn their city into a leading center for monumental art. ^Franz Schulze, "Chicago: Bigger and livelier but...", ARTnews, February 1979, p. 45. ^Ibid. 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The pieces range vastly in aesthetic/historical significance, in financial value, in dimension, material, colour and scale. All, however, share one common denomi­ nator; eash exists for public attention in a public place, hence, the term "public sculpture." The term implies many inferences; i.e., the piece was funded with taxpayers' dollars or, perhaps, the public created it. To clarify the term here, public sculpture is defined as sculpture in­ stalled on public or private property, out of doors, for all the world to see. Contemplation of the sculptures provokes many questions beyond the aesthetics. How was this piece financed? What kind of cooperation is necessary to imple­ ment a project of this nature? Was an architect involved? And, the greatest question of all, "Who chose this piece?" These observances expanded into more complex questions. Is one person or group of people orchestrating the pro­ liferation of public sculpture in Chicago? Are these people related to each other and in what ways? What is entailed in the process of an acquisition? The above issues consolidate into two central themes; what are the most significant sources
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