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Download Article (PDF) Open Philosophy 2019; 2: 582–589 Does Public Art Have to Be Bad Art? Editorial Mark Kingwell* Editorial Introduction to the Topical Issue “Does Public Art Have to Be Bad Art?” https://doi.org/10.1515/opphil-2019-0041 Overview Both the title and the call for papers for this topical issue were phrased with deliberate provocation in mind. So many discussions of public art seem to involve contentious views, citizen outcry, and conflict between ‘the general public’ (who must experience and live with the art) and the creators or curators of that art (who can sometimes seem, or be, elitist, arrogant, and irresponsible). The provocation, therefore, was deliberate but not without reflection. We wanted the articles in this issue to extend and expand on familiar disputes between citizens and government agencies, or corporations, who might commission public art works. We also wanted, naturally, to query the notion of ‘bad art’ in the context of the public sphere, especially in the places where everyday experience leads us to expect encounters with public art: parks, plazas, shared courtyards, airports, subway systems. It is worth noting the obvious links among these various sites, namely, that they are almost always urban and unavoidable. I may choose to drive to a non-gallery artwork such as Robert Smithson’s Spiral Jetty (1970, Great Salt Lake, Utah), or Michael Elmgreen and Ingar Dragset’s Prada Marfa (2005, Valentine, Texas), or Seven Magic Mountains (2016, Las Vegas, Nevada) by Ugo Rondinone, or Alfredo Barsuglia’s Social Pool (2014, Mojave Desert, California). Here, remoteness is often part of the work. In these cited examples, desert or near wilderness is absolutely figured as part of the installation, as is the journey to overcome that remoteness. Similar logics can be observed in works in other topographies: isolated hilltops, remote forests, circuitous hikes. We might define these works as destination art, rather than public art, since they call to us from a distance and employ that distance as an essential element of their aesthetic effect, even as they refuse the confines of the gallery or museum space. But in some cases, works of public art conjoin proximity with distance. Consider, for example, Diller Scofido + Renfro’s Blur Building (Yverdon-les-Bain, Switzerland, 2002), which created an intersection of lake, bridge, building, and natural mist features to allow an experience of gorgeous uncanniness. Or Christo’s monumental Floating Piers (Lake Iseo, Italy, 2018), which moved beyond earlier experiments with draped buildings in the centre of cities (the Arc de Triomphe in Paris, the Reichstag in Berlin) and the fabric gates in New York’s Central Park, to create instead a destination experience of walking on water. One must also mention here the ill-fated large-scale project of Christo and Jeanne-Claude to cover California and Japan with giant umbrellas (1991), which resulted in two deaths. ‘Bad public art’ does not meet the case for such calamity, which among things was satirized by the television show The Simpsons, where the character Homer, doofus head of the family and briefly an aspiring public artist, muses on the inspiration provided by a dangerous installation: “Killer umbrellas? Excellent!”1. Such excesses aside, public art in the usual sense functions at least in part via proximity, not distance. This aspect of publicness is clearly more available in urban settings than elsewhere. That is, such art must remain accessible to an ordinary public, not just a motivated (and perhaps affluent) one who can traverse 1 Season 10, Episode 19. *Corresponding author: Mark Kingwell, University of Toronto, Toronto, Canada; E-mail: [email protected] Open Access. © 2019 Mark Kingwell, published by De Gruyter. This work is licensed under the Creative Commons Attribution 4.0 Public License. Editorial Introduction to the Topical Issue “Does Public Art Have to Be Bad Art?” 583 distances both physical and economic. This aspect of ‘traditional’ public art removes an element of freedom that is woven into destination art as I have characterized it above, which involves a planned visit and therefore, assuming one is not dragged along unwillingly, the exercise of free aesthetic choice. For example: one may love or hate Anish Kapoor’s Cloud Gate, known affectionately as ‘The Bean’ (2004, Chicago, Illinois), but there is no way to avoid its presence if one steps anywhere along the Chicago Millennium Park complex. Matters are likewise in one of the most notorious cases, Richard Serra’s Tilted Arc (1981-1989, Manhattan, New York), which was controversial, among other reasons, because it made it harder for people to cross Manhattan’s Federal Plaza. The work was unavoidable, physically as well as aesthetically. The main charge in the remarkable 1989 Federal lawsuit that led to the removal of Serra’s work was, however, its perceived ‘ugliness’. For many, Tilted Arc is the baseline example of what goes wrong in discussions about public art. I happen to think it is a work of genius, as are many if not most of Serra’s public pieces. There is one installed in the main airport of my home city of Toronto, Tilted Spheres (2002-04, installed 2007, Pearson International Terminal One, Toronto), and I make a point to visit it every time I am there, whether it is close to my departure gate or not; but I have, unsurprisingly, overhead many derogatory remarks about it, on the order of “Well, it’s just slabs of metal, isn’t it?” This absolutely echoes the kind of commentary you may hear in any modern art gallery the world over, usually in the clichéd claim that “my six-year-old could have done that.” Such comments may be dismissed as philistinism, but when the gallery or site is a publicly funded one, the issues begin to press on institutions, curators, artists, and even fans of the given work. Often, this is a matter of finance: How can be paying for this dreck with our tax dollars? When, in 1989 the National Gallery of Canada acquired Barnett Newman’s Voice of Fire (1967) for the then extravagant-seeming price of $1.8-million, there was a national crisis. Its current value may be closer to $40-million, but that does not convey experiences such as my vivid disappointment that, when I last visited Ottawa and the Gallery, it was being treated and therefore not visible. One could multiply the examples of this kind: works by Tracy Emin or the Chapman Brothers in England, say, or by Anselm Kiefer in Germany. These narratives of ‘controversy’ or ‘badness’, which are really the same narrative over and over, are part of the stock-in-trade of the gallery world. There are also some enticing limit-cases concerning monumentality and its deployment as both aesthetic and moral (war memorials, statues, certain buildings). Is Norman Foster’s 30 St. Mary Axe, known wryly as ‘The Gherkin’ (2003), a work of public art? If so, is it a good or bad work of art? What about central London’s other much discussed ‘out of place’ building, Renzo Piano’s neo-Futurist Shard (2012)? Is that public art, good or bad? Meanwhile, is the Statue of Liberty a work of public art in a different sense? What about the Brandenburg Gates, the Empire State Building, the CN Tower in Toronto, the Oriental Pearl Tower in Shanghai, Notre Dame Cathedral, the Fontana di Trevi in Rome, Gaudi’s La Sagrada Familia in Barcelona, or the Charles Bridge in Prague? Once more, one could multiply the examples – though I confess that most of those just listed are praised almost universally by citizens and visitors alike, and in that sense are neither bad nor controversial except to certain kinds of retrograde critics, such as Britain’s Prince Charles. As fascinating and important as such debates may be to the notion of publicness in a large sense, we do not pursue them directly here. Rather, the focus of the articles in this issue is on works of created explicitly for display in public spaces. This we regard as the minimalist definition of public art: accessible and site- specific. But, as readers will quickly discern, there is a host of instabilities and controversies lurking in even the minimalist definition. What is public space? What counts as display? Are there multiple publics, not just a single mass of citizens in a given conurbation? If citizens think public art is bad, does that matter? Also, crucially, who gets to decide which art is going to be displayed in public? Since any one of these conceptual vectors can be made blurry by both controversy and sustained investigation, the overall effect of ‘the question of public art’ is murky but endlessly instructive – as indeed one might say that all genuine philosophical puzzles must be. The standard definition of public space is that it is a public good. This holds with Henri Lefebvre’s celebrated view concerning a citizen’s ‘right to the city’. More specifically, in economic terms, a public good should be non-rival (there is no competition for its enjoyment, no zero-sum game) and non-excludable 584 M. Kingwell (there are no gates to its enjoyment or use). We are forced to wonder, in addition to all aesthetic concerns, whether public art is a public good. And if so, what kinds of exclusion are in play? This in turn raises another issue captured by economic theory: is public art a positive or negative externality? An externality is any aspect of life not captured by contract. Cities offer many examples. Negative externalities are things like pollution, noise, and traffic. Positive externalities might include opportunities for cultural and erotic stimulation, community connection, and beauty.
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