Chicago Public Art Plan

Embracing public art as a defining characteristic of our city

Chicago public art plan Chicago public art plan Contents The Chicago Public Art Plan has been authored by the Chicago Department of 2 Letter from Mayor Rahm Emanuel Cultural Affairs and Special Events (DCASE). 5 A city of makers: essay by Thomas Dyja DCASE is dedicated to enriching Chicago’s artistic vitality and cultural vibrancy. This 13 Letter from Commissioner Mark Kelly includes fostering the development of 18 Vision and background Chicago’s nonprofit arts sector, independent working artists, and for-profit arts businesses; 23 Goals and recommendations providing a framework to guide the city’s 39 Acknowledgments future cultural and economic growth, via the Chicago Cultural Plan 2012; marketing the city’s cultural assets to a worldwide audience; and presenting high-quality, free, and affordable cultural programs for residents and visitors. Since the plan is largely being distributed digitally, the plan's design considers the screen as its site — it uses the PDF's scrolling format as an opportunity for new forms of interaction, experimentation, and interwoven narratives, just as contemporary public art responds to site and context. It is typeset in Aperçu and Cooper Black, the latter developed by Chicago type designer Oswald Bruce Cooper in 1922.

Letter from Mayor Rahm Emanuel p2 Letter from Mayor

1857 Jyoti Srivastava. Jyoti sits for portraits for sits 1 The timeline that runs document shows the growth of art inof public art places within and diversity of public art along the left margin of this arrives in Chicago, setting a timeline works by other artists after raises awareness of the value Volk, Chicago public art: Volk’s studio Abraham Lincoln up astudio with aspecialty Sculptor Leonard Wells Volk Leonard Sculptor Monument, Image, left: Leonard Wells Lincoln’s death. guide memorial later that the rapidly growing city. In in Chicago, from the mid- in portraiture. His presence 9th century9th to the present. Volunteers Firefighters' 1864. Credit: 1864.

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sculptures sculptures

Emanuel Mayor first cities In Chicago one became of 1978 the nation’s meaninggave to art in public space. and saw residents and artists how changed South Side 43rd Streetand Langley Avenue on Chicago’s and the Wall of Respect, which once stood at public artworks, the Picasso in Daley Plaza anniversary of two of Chicago’s most iconic of life for its residents. We also honor the 50th vital to aneighborhood’s spirit and the quality wards coming to life across the in city Chicago’s 50 a theme of “50×50,” we celebrate public art by declaring the Year 2017 of Public With Art. year, we mark anumber of historic milestones of the city’s fabric since its earliest years. This We recognize Chicago’s public art legacy, part gizes, and inspires. kind for our city, this plan recognizes, ener- Special Events. The first document of its Chicago Department of Cultural Affairs and the As Mayor of Chicago, Iam pleased to present iconic works Gate such as Cloud We’ve public seen art evolve since then. From the city’s sense and of identity character. Chicago’s program was visionary in shaping to rethink the value of art and design, and It was atime when cities were beginning to create acity-funded public art program. Chicago Public Plan Art , created by the — because therebecause is no question is that art — — and the largest that point at world-famous pieces that forever in Millennium in Millennium —

innovation as aplace forlegacy historic art and artistic the next generation. We honor Chicago’s Chicago moving forward as we advance into ongoing support for public art, to keep for it what will take to energize and inspire Yet now more than ever we avision need discover. and that makes Chicago agreat place to explore made Chicago adestination, of everything by Chicago’s own artists, of the artwork that’s shown creativity incredible the of proud diverse cultures that call Chicago home. I am Chicagoans, to the multitude of vibrant, that art in our means city many things to Plan, we understand 2012 and celebrate to community efforts via Cultural the Chicago Park to streetscapes and transit stations Mayor Rahm Emanuel great city. and art that’s to all open across people our it takes to support and protect creative life do more. Let’s inspired get and do what can in happen any neigh and Chicago as aplace where great culture value art as an expression of human creativity I extend achallenge to Chicago. If Chicagoans disruptive, and the extraordinary. Sotoday bold, willing to embrace the surprising, the

— art that is as inclusive as it is borhood, we to need

3 1880s 1871 sculptures funded by private stacked iron safes salvaged carving work seeking Tomb and Memorial, 1881. 1 Tribe. Also in Lincoln Park, of sculptor Augustus Saint- Chicago by commissioned The becomes city a creation of Standing Lincoln of the city’s parks results destination for sculptors a bequest by another lumber a memorial consisting of of consisting memorial a ornamentation architectural Alarm Alarm, with naturalistic realism realism naturalistic with works are influential in how realistic depiction of a them philanthropy. Among monumental character monumental character artificial, the than rather Volk, Stanford White. These Credit: Jyoti Srivastava. Gaudens and architect Ongoing development development Ongoing Chicago Fire. In response ( (now Garfield) Park starts Image, right: Leonard Wells Image: John J. they portray their subjects subjects their portray they Ottawa the honor to Ryerson family American Native typical of the era’s public art. Le Baron Jenney designs to the fire, architect William the monument in Central Central in monument the from the ruins. Work on buildings rising new the for baron, Eli Bates, leads to the Martin merchant lumber halts its construction. its halts is sculptor John J. in several major public in the aftermath of the Great in 1872, 1 884 figural group The 887), acollaboration Stephen A. DouglasStephen in Lincoln Park, a

1 884. 884. but alack of funds Boyle, The Boyle’s

4 The World’s Columbian Exposition, held in Jackson 1893 Park, features sculptural art throughout its grounds and monumentally scaled murals within its buildings. Among them, in the Women’s Building, is the only known large-scale mural by Mary Cassatt. The presence of major works by international artists is a significant factor in generating public awareness and support for public art. Sculptor Daniel Chester French’s The Republic, standing nearly 65 feet tall, becomes an iconic symbol of the fair. The plaster original is demolished after the fair closes, but in 1918 a gilded bronze version one-third the size the original is dedicated in Jackson Park as a permanent memorial to the fabled 1893 event. Image, left: Daniel Chester French, The Republic, 1918. Credit: Jyoti Srivastava. Image, right: Daniel Chester French, The Republic, World’s Columbian Exposition, 1893. Credit: Archival Photographic Files. Addenda. C. D. Arnold Photographs [apf3-00056]. University of Chicago Library, Special Collections Research Center.

The buildings of architects Louis Sullivan and Frank Lloyd Wright, working together and separately, have a profound impact

1890s–1920s on the dispersal of architectural sculpture and vivid ornament across the city.

A city of makers: essay by Thomas Dyja p5 A city of of makers Thousands of miles from Paris and New York, That’s true of art in Chicago, as well. The first artist I ever met two lived doors up Zurawski was just making something in the of Chicago.of We sing about the hustlers and of cement. There was abirdbath, too. The scale, have all added up to aChicago something for all of us, including the birds, to suspenders who made amagical birdhouse aesthetic that dances in and out of the official handat and stay focused on the human currents of American literature, theater, experiment and process, the way we use what’s theever process is, losing yourself in it is its creation, whether you’re making abirdbath, a enjoy. Ofcourse, we didn’t call it “Art.” Art colored glass, broken china, marbles plus a giving us the luxury to let that humble urge to was that he wanted to use his tools and talents was the Monets and Rembrandts downtown, few pairs of dice all into aten-foot column from us, aPolish plasterer in aT-shirt and make fully inform our arts. Our love of making than they have about the Academy, most artists here have cared more about point.real pulsion to plan and craft and fiddle and finally money to do nothing. It’s an itch, acom matter of work and apaycheck; it’s notsome race, politics, and baseball allegiance have whopeople simply have power has come from like people Mr. Zurawski, needed to make. process has afancy name thing you do only until you have the time and drilling, building and assembling, apart, us torn the dealers but for most of its life the city’s to make something beautiful for his yard, the Picasso in the Civic Center. To us, Mr. I doubt Mr. Zurawski knew it. What he knew Making has always the central been fact have held us together. Making here isn’t just a him driven had Picasso, too. Mr. Zurawski backyard, but the same basic that drove need in his yard by pressing shards of mirror and loaf of bread, or an airplane engine. What let yourself transported be by of the act to make things. When — picassiette —

but but -

John Dewey focused on pragmatism and The whole was city created that way At the University of Chicago, philosopher opened upopened the West, the burned Fire in 1871 skyscrapers, but in his hands they merged subtle that they passed for God’s hand, but student Alfred Caldwell designed parks so and academics and the immigrants who built assumptions about how people Start with the bones. Louis Sullivan us gave and pluralism central to its work serving the Side settlement founded by Jane Addams and Out ofOut this new kind of also city came ideas city grewcity in its place, the nation’s first city’s immigrants. In the of face the looming commonsense energy. Hull House, the West which often goes unnoticed and unnamed way of thinking that matched the town’s with nature, the arts, and other. each Daniel fresh, fully aware of the great and dangerous poohbahs who paid the bills architects the to purpose. First amuddy place of transit that messy riots, marches, and celebrations that possibilities that lie ahead for America. people werepeople always the point; their parks modernist towers of Mies van der Rohe. the between agriculturalpeace past and prairies of the Midwest into along, low build- Wright looked wide, translating the empty truly intentional big city. From the Eastern that town away, and anew kindAmerican of time. Chicago was always about beginning the organic and manmade in a way that made the Industrial Age. His student Frank Lloyd Burnham, though, would shocked be by the Ellen Gates Starr, made cultural expression Landscape architect Jens Jensen and his building, music, and the visual arts here because, like Mr. Zurawski’s picassiette, his his have overtaken the orderly spaces of open brought Chicagoans everyday into contact it all, everyone planned it right to get this in Chicago has purpose. had it’s just our way of life. Most of all, making art ing style that would eventually lead to the learning by doing Plan Chicago. of — should approach the arts. — —

an active, democratic far from old East Coast — — but with

6 1905 1900s significant is the fund’s pro- The Beautiful City move- ects thatects include public civic beautification proj- of Chicago Library. Chicago of gesture from aChicago and the Municipal League Art Bodiesart. such as the artworks throughout the city city the throughout artworks ation of public sculpture in place paintingsplace and sculp ment inspires many notable maintenance and conserva rary masters such as Richard million gift to fund the cre- underwrite the creation of Credit: Benjamin F. Ferguson Chicago. The B. vision to provide ongoing ongoing provide to vision Nuclear Energy, 00916]. Special Collections Collections Special 00916]. Image: sculptor Henry In another philanthropic philanthropic another In ture throughout the city. the throughout ture Art, Public of Encouragement the for Commission the Commission, Art Municipal Research Center, University Photographic Archive [apf1- Chicago of Fund. University Moore with his work, tion to the sculptures. Louise Bourgeois. Equally Noguchi, Ivan Mestrovic, and Hunt, Henry Moore, Isamu Monument Fund goes on to F. Ferguson provides a$1 by modern and contempo- lumber merchant, Benjamin F. Ferguson 1967. 1967. - -

at hisat New Bauhaus, where he preached that South Side and developed those ideas further day-to-day life. In field, every in decade,every constant awareness; who, like Mr. Zurawski, everyone is talented and that art is abasic create objects that enhance life. Just before goal wasgoal the “universal man” who lived in made art as one of the essential of his acts World War II, László Moholy-Nagy came to the there efforts have been to bring the to arts Lloyd Wright all stressed the value of the Machine Age, the and Arts Crafts movement, vision of art as experience, Moholy-Nagy’s hand human need. Injected with adose of Dewey’s immigrant craft traditions, and then Frank — how we must live aware and to beauty

The result more has been than acentury

of purposeful public art; art that hasn’t just Society to KatharineSociety Kuh’s modern art and Ellen Gates Starr's Public School Art Club to Studs Terkel telling stories of the great operas as if they were radio soaps. galleries the Institute, at Art from Jean people ofpeople Chicago: from Jensen’s parks the daily lives of Chicagoans. that’s gone out into the streets and touched those who can afford it. In Chicago, art belongs to everyone, not just Dubuffet announcing the Brut at Art Arts hung there waiting experienced to be but

A city of makers 7

1910s south courtyard of the Art Art the of courtyard south in compositions symbolic sculptures were made made were sculptures Time The Illinois Centennial 1913. Credit: Jyoti Srivastava.1913. Today, Taft’s sculptures often ducing another facet to the end of the Midway Plaisance cast-concrete establishes himself as a of Chicago’s Logan Square at the University of Chicago. Taft’sart. own work, created of Time, 1922. Credit: Jyoti works are Fountain ofthe nature of public art. performances based on their his among Notable materials. and forms nontraditional public for advocate major possible by the B. neighborhood, is built in 1918 All the above-mentioned above-mentioned the All Studios, introduces striking striking Studios, introduces Sculptor Lorado Taft Srivastava. (1913) in the LakesGreat (1913) versary of Illinois statehood. Illinois statehood. of versary Fountain ofthe Lakes, Great Memorial Column, designed Images: Lorado Taft, Institute of Chicago and the Fountain Image: Lorado Taft, Fountain themes and content, intro content, and themes Monument Fund.Monument to celebrate the anni 100th - by Henry Bacon at the heart inspire onsite theatrical in his South Side Midway (1922) at (1922) the western Fountain of F. Ferguson -

Throughout the city, art has helped establish and windows. The South Side Community Art St. Center,Michigan in opened on South 1941 place and community. Polish churches such as their largely immigrant parishioners service but also transcendence with their ornate altars Hyacinth and St. Stanislaus Kostka offered American History. History. American Administration (WPA) project and, along with Avenue, is the last survivingWorks Progress on to found the DuSable Museum of African and Dr. Margaret Burroughs, who would go the Parkway Community House at 51st and and the51st Parkway Communityat House Brooks, Richard Wright, Archibald Motley, Renaissance and the likes of Gwendolyn Public Library, produced the Chicago Black Branch Hall the and ofKing Drive the Chicago

A city of makers 8 1927 was designed by architect size, Buckingham Fountain Versailles but at twice its Fountain at the Palace of world. Inspired by the Latona the largest fountains in the to Grant Park and one of centerpiece iconic an as opens Fountain Buckingham Art Workshop,Art which for the next 59 years Aztlan, painted by the Chicago Mural Group. Avenue Bridge to Moore, pieces by Henry on monitors throughout the neighborhood; artists in Lincoln Park (Kearney’s car-bumper asserted the presence, history, and com- Cosmo Campoli started the Contemporary Stony Island Bank, Arts acombination gallery, Coltrane, Tubman, Malcolm X,and Aretha Organization of Black American Culture acces creators. In West Town, for one, filmed people conceptual installations in parts of the city especially the Movimiento Artistico Chicano, city’s Latino and Chicano art movements, created streetcollectively mural, radically garden growing produce for HIV patients HIV for produce growing garden works the communities activated and made community center, and library, use the arts façade offaçade the Pilsen community center Casa followed with their own murals, notably the residents not just subjects of art but art provided studio and exhibition for space munity of African Americans in Chicago. from Lorado Taft’s Fountain of Time (1922) munion in Rogers Park. Today,Lab Place at of Oz of the University of Chicago and Theaster Gates’s usually avoided by the crowds. gallery The the 1890s and endowedthe 1900s, 1890s works ranging troubled parts of the city. to heal and reinvigorate some of the most In 1949 John Kearney, Golub, Leon and In Sculpture 1992 Chicago’s landmark Culture Haha’s Haha’s Franklin. by WilliamExecuted Walker and the Langley, the Wall of Respect, the first Lerone Bennett Jr., Isamu Noguchi, and Chicago native Richard video projects about their lives then shown version of the characters from The Wizard Michigan Avenue, Chicago has the led nation From the hub of the Cultural Center on Monument, and the pylons on the Michigan the on and pylons the Monument, in Action in in 1967, it depicted heroes such as DuBois, into asource of food, information,com- and inspired by the Beautiful City movement of in making important works of public art in Washington Park, the Logan Square are in Oz Park nearby). At43rd and sible and visible. The Ferguson Fund, visible. Ferguson and sible The Flood exhibition eight located different “The Wall is Home,” turned astorefront hydroponic “and away Home. said scholar ” The

Theater games invented by Violagames Spolin Theater while There was something quintessentially 1992 about1992 art what can and should do and Art shouldArt never lull you to sleep, and whether Art Project employedArt artists local to paint

of the cost construction of city every be stories with graphics and video. same kind of verbal dexterity, honesty, and small find their voice their and in history place spent on public art for the site. and dialogues started by Culture by and dialogues started in Action in andDubuffet Chris Ware, as well Holliday as Darryl and E. questions it raised about engagement, power, as artistscity answer in their own ways the Chicago about famed columnist Kupcinet Irv whether or not it’s being made. The debates with works by Chagall, Oldenburg, Calder, guts, while visual artists such as Maria Gaspar, exchange involved in telling and stories their describing his long-runningshow TV as “The working for theWPA morphed into Improv at pain, joy, awareness, and action, identity. for art” ordinances, requiring that aportion philosophy for some, apractice that teaches murals in schools, libraries, post offices, to the point: No one knew the what hell the wave of sculptures that started with the the core of public art. Not everyone loved the Compass Theater and then Second City; through his books and and radio TV shows. the adopted one city of the first “percent Inspiring debate and asking questions are at Picasso in had mind, but Chicagoans have Picasso in 1967 and went through the 1970s Public art lets us exchange parts of ourselves N. Poetryslams, started by Marc Smith in Uptown and great of people thousands helped He Lively Art of Conversation.” Chicagoans of Art Conversation.”Lively Chicagoans Hunt. During the Depression, the Federal how it should do it continue to enrich the discussingbeen the question for 50years. bars and clubs in the mid-1980s, demand the live with immediacyto and creativity. how have made an art form out of the intimate hospitals, and government buildings. In 1978 it’s good, bad, or beautiful all matter less than isn’t always quiet or polite in ways beyond that go money. exchange That it’s evolved since into something close to a evolved it’s listening to others’. Studs Terkel tops the list.

Rodriguez have developed new ways to tell — but the debate was much very — nor should it be.

A city of makers 9 1930s Srivastava. Ceres, Image: John Storrs, Street financial district. southern end of the Salle La which comes to define the the Chicago Board of Trade, Storrs’s John and Building Square for(1930) the Michigan Milles’s among these works is Carl Notable composition. tural an integral of architec part - ingly include sculpture as downtown Chicago increas- New skyscrapers rising in Fountain Memorial Clarence Buckingham and Frost; Marcel F. Loyau, Image: Bennett, Parsons evenings. the and music and light shows in day the throughout displays fountain runs major water tion spring through fall, the F. Loyau. While in opera - by French sculptor Marcel ornamental statues created Edward H. 1930. Credit:1930. Jyoti Diana Fountain Diana Ceres Bennett with (1930) atop (1930) , 1927.

At the same time, public art in Chicago has enjoy being with other people. Anish Kapoor’s provided unity millions have come to enjoy art but mostly Cloud Gate Cloud become a newbecome symbol of Chicago, joining sky, has since its installation in 2004 — moments and places where

Art InstituteArt or lighting up the skyline to celebrate or mourn, applauding Buckingham we one to be together. need city participating in the kind of joyful artistic ritual Fountain as the sun sets Park. Putting aCubs on cap the lions the at lake, and land with the in people Millennium — all are ways of

A city of makers 10 1935–1943 government sets up art forart public places. The work. Under the Federal program is best known for programs to put artists to Art ProjectArt of the Works economic the Amid (WPA), artists are employed to create awide variety of Progress Administration federal the Depression, hardships of the Great

“How you center apot matters,” said Theaster Tucker, who “life see as an art practice and These qualities infuse the more traditional Theatre up to companies such as the Organic, The ethnological galleries the at Field Museum Artists such as Laurie Jo Reynolds and Daniel of politics and and politically activism act of nondescript South Side homes into a of lonely buildings, Gates transforming apair of the atenet has of everyday been Chicago open, active,open, and influential in demystifying swirl of community art and activity, or just a and turns the vernacular into high art. art as alife practice,” construct projects out art since Carl Sandburg made husky, brawling against and greed ignorance. in Art Chicago are the hallmarks of our literary tradition, and arts here as well. Realism and social justice Victory Gardens, and Steppenwolf Gwendolyn Brooks writing about astreet in Gates once, and that awareness and elevation Spero and such musicians as Sun Ra, who desire to reorder, redirect, recall, and rebuild rebuild and recall, redirect, reorder, to desire every act of art making act every of an protest act walk along The 606, the Chicago aesthetic wooden bowls the at Institute of Design, relied on intimacy and intensity more than Whether it’s James Prestini turning exquisite through their art. Moholy-Nagy considered the city’s theaters the arts. The School of the Institute Art (SAIC) Underneath it all, there’s nearly always a Bronzeville, David Schalliol’s photographs Browne and Ellen Van Volkenburg’s Little Dubuffet always home felt at here. Broadway glitz. Large institutions have been Roster painters such as Golub and Nancy heightens the experience of common things hog butchers the heroes of his poetry. has asocial purpose. has produced aworld-class roster of alumni. in the direction of justice and democracy. inspired SAIC students as well as Monster lived afew blocks away. It’s not surprising that — starting with Maurice — have

Thomas Dyja is author of The Third Coast: The plan will establish the arts as apriority The Art willArt let us do that.

our people. our streets and realizing the of deep needs of the Machine Age. full Acity of makers like of professional artists and practitioners, practitioners, and artists professional of statements will bring the arts higher up their and the of people the city. Developers will and natural resource we must nurture and audacious as Burnham’s, acomprehensive Chicago suffered profoundly from the end do with their hands, and as our making gave creeds, and classes. exchange Chicagoans between of all colors, departments, and offices. Our artists will connections will agencies, made be between consider up front roles what the arts can deliver to all our citizens, especially our youth. effort the through to city activate art in city, we to make need again. glass way to buying and watching and serving, we ways Addams, Jensen, Wright, and Moholy- Plan of Chicago bit every as hopeful and full of wonder, welcoming the world to mirrors, the marbles, and shards of residencies, fostering engagement and and engagement fostering residencies, play in their plans; environmental impact When Chicago Built the American Dream tore ourselves apart. To whole be again as a the arts as apresence in daily Chicago life. It considers them as much of apart our Mr. Zurawski suddenly didn’t know to what Let’s grab what’s hand at in Chicago couldNagy only dream of. It will embed (2013). institutions, community groups, funders, in our urban planning, creating anetwork infrastructure as power and water, avital lead, practicing in community every through list of concerns; funds will allocated, be and Chicago Public Plan Art is anew kind of — and together make things fresh and — the

A city of makers 11 1957 1941 sioned by corporate patrons. 1975. 100 community100 centers art Credit:1938. University The South Side Community created for the lobby of community programs. continuing to serve Chicago’s established by the WPA, is it Photographic Chicago of employed artists the of other projects feature sculp- of Chicago Library. Chicago of among the first of many and HarryBertoia’s Untitled and the community-based are notable for the diversity woodworking. These efforts postwar sculptures commis sculptures postwar post offices, and parks, but Alexander Calder’s Universe Alexander Association, Dental American in opens Center Art Archive. Addenda. Mildred South Side with and arts Sounding Sculpture for (1975) Other important examples Court, JaneCourt, Addams Homes, (1974) for Sears Tower, Radiant I,1957. Credit: Untitled Sounding Sculpture, Untitled 09171]. Special Collections09171]. Image: Harry Bertoia, Image: Richard Lippold, Image: Edgar Miller, Animal the Inland Steel Building, is Richard Lippold’s Radiant I, the only one that remains, Bronzeville. Out of more than ture, easel mosaics, art, and Hedrich Blessing. the Standard Oil Building. Research Center, University Mead Photographs [apf2- themes of their artwork. include Herbert Ferber’s Herbert include its mural projects in schools, (1972) for(1972) the

12 Letter from Commissioner Mark Kelly p13 Letter from Commis- Commis- Kelly sioner you in and to draw inspiration from. that invites Art display for everyone to view, to interact with, it’s so much more. It’s the city’s on creativity includes sculptures and monuments We are with acity incredible public art. Yes, it Chicago, our it's time! art gallery allart gallery in one nature-filledoasis, concert venue, and public of the world’s most visited cultural spaces: a I am proud to count Millennium Park as one renown and contribute to its legacy. our city, many of which have brought Chicago with great pride for all the public artworks in of Cultural Affairs and Special Events, Ispeak As Commissioner of the Chicago Department engage. to and Pritzker Pavilion, Fountain and Crown It’s no coincidence Gate, that Cloud whopeople visit from across the globe. valued by our own residents as the millions of lights, through sound, through play that you experience through mirrors and Chicago astir fiveago. decades This is true of two historic artworks that gave and identity in our communities. conversations around important have meaning accessible, public art helps us to reflect, to troversy. Because it’s out in the and open pride. It also can spark dialogue and even con- Public art can help to build and local reflect appreciatepeople and value cultural heritage. I’m also proud that Chicago is aplace where unexpected the park’s star attractions. They are fun and — that encourages you to respond — public art that comes to life. — a town square that’s as — the Jay Jay the — — artworks but but are

downtown a beloved contemporary icon for Chicago’s become onlookers has some time over but abstract work that shocked and confused There’s the Picasso in Daley Plaza, atowering live performances. performances. live artworks, dynamic lighting installations, and embedded and temporary pop-up public and families, teaching and running spaces, life as aliving work of art, filled with children industrial rail line that was brought back to We it in see The 606, adecommissioned illumination. playful inspire and delight with water shows and terpiece in its time that continues to engineering innovation and sculptural mas We it in see Buckingham Fountain, an pyrotechnic to waterfalls. performances live front filled withactivity, from restaurants and as the Chicago Riverwalk, abustling water- We it in see our parks and public spaces, such collaborations artists between and architects. exciting shapes and designs through inspired as our transit stations and bridges take on We it in see the design of our infrastructure, public art. transformed day by different every kinds of And it’s true today, as we Chicago see a community mural movement worldwide. of visitors across the and country the start of our that Community” sparked the interest to “Honor our Black Heroes, and to Beautify community mural created by artists seeking And there’s the Wall of Respect, aSouth Side our children. — and even afun-filled slide for

1967–1970s symbol of the and city paves soon becomes an accepted The unveiling of the Chicago controversial, the work the controversial, ernism in public Initially art. commission work for public public for work commission ernist statements. The federal critiques of grandiose mod- downtown plazas become a government continues to and Arturo Herrera. Herrera. Arturo and precedent for abstract mod for abstract precedent monumental works such by modern In art. turn, Wolf public gallery of 20th century o ls ll’s e t Vos Stella, Iñigo Manglano-Ovalle, Chagall, Joan Miró, Louise Batcolumn offer (1977) lively and Claes(1970) Oldenburg’s 1967. Untitled, 1967. Image: Pablo Picasso, Picasso sets an important Nevelson, and Jean Dubuffet, ter. With the addition of throughout the cen city - the way for other modern- buildings from important- art international artists as Marc ist sculptures in public plazas ists such as Sol LeWitt, Frank Concrete Traffic

characteristic of Chicago. Chicago. of characteristic hope to embrace public art as adefining mean for all Chicagoans. With this plan, we It speaks to how we value art and it what can aims visionary to be grounded yet in practice. Chicago Public Plan. Art It’s adocument that Special Events is proud to introduce the first Chicago Department of Cultural Affairs and With this broader context in mind, the compelling new work ward to every in the city. artists work alongside residents to bring And we it in see the Year of Public as Art, politics, and neighborhood cultural identity. works equally informed by artistic expression, community, bringing together avibrant mix of We it in see murals in Chicago’s Pilsen in the murals along the Wabash Corridor. Arts We it through see street art on agrand scale

public art isn’t just one discipline of creative life, we ought not to forget that asBut Chicago powers forward as an engine audiences.global comedy gospel music, storefront theater, and improv not to mention Chicago blues, jazz, and incredible design, and narrative art forms, the birthplace of modern architecture, by its art and innovative spirit. Chicago is In many ways, Chicago is already defined meaning, and pride to Chicago. By engaging in public art, we bring value, vision to our streets and to the public realm. on walls. It’s how we bring as acity artistic sculptures and statues, it’s not only murals — all cultural activities that attract — it isn’t just

Letter from Commissioner Kelly 15 Katzive and Archives. Credit: David Library Art Contemporary Courtesy of the Museum of Concrete Traffic, 1970. Image, right: Wolf Vostell, Credit: Carol M. Services Administration. Collection,Arts U.S. General Fine Program Architecture sioned through in the Art Batcolumn, Commis- 1977. Image, left: Claes Oldenburg, © MCA Chicago. MCA Highsmith. Reimagine our built environment To bring this vision to life, we must: Enliven our city’s assets transforming into artscapes. design and architecture, and streetscapes intersecting windows with landscape displayed creatively spaces, pop-up art parks, in installations gardens, art into brought to life, community gardens morphing contributing to the public good. voices, their visions, and their while creativity discovers new creative pathways for their to work with artists Encourage and build opportunities for youth ever changing and ever growing in reach. spaces as performances fill ourparks and public permanent and monumental the alongside include the experimental and the temporary Expand our definition of public art our buildings. animate to to artful illumination to video mapping as ways public art Embrace new media, sound, and technology as public parks brimming with creative energy. with art, airports becoming art portals, and on light poles, the public transit system filling objects, kinetic street sculptures emerging turned into canvases, new bridges as art seen — a fluidenvironment in which art is — from interactive light installations — as the next generation — traffic-signal boxes — — fences to

new heights Support Chicago artists taking their skills to mission to push this work forward. to the and people; foundations focusing their expanding their boundaries to bring art to business districts; cultural organizations commissioning public art to bring distinction programs and missions; Special Areas Service agencies embracing public art in their a shared sense of vision Push forward as acreative that embodies city art as one of Chicago’s greatest treasures. and answer the clarion call to elevate public essential. Let’s rise together, push forward, supports this work is not easy, but it’s of Chicago. Building an environment that embraced, and adefining to be feature We public need art celebrated, to be be to vision to life. Today, I challenge Chicagoans to bring this ofpeople Chicago. standing of the public art around us for all the discussions, we will build greater under- digital tools, educational experiences, and city, filling all of our neighborhoods Take delight in public art as ahallmark of our myriad new audiences, forms, and contexts. edge levels of as creativity they respond to of genres and styles, and reaching cutting- — working across awide spectrum — government — through

Letter from Commissioner Kelly 16

1967–1970s Administration. U.S. General Services Collection, Arts Fine Program in Architecture Art the through Commissioned Calder, AlexanderImage: Carol M. soon becomes acatalyst for This groundbreaking work devoted to exterior murals, city. In Pilsen, Mexican mural corner of 43rd Street and and railroad embankments. an abandoned building at the mural art throughout the the throughout art mural milestone takes place in African American history. figures and themes from Seven miles south of the Credit: Darryl Cowherd. Group, organization an Wall of Respect, depicting Image: Wall ofRespect, 1967. the ChicagoIn Public 1971 Art traditions are adapted to to adapted are traditions Langley Avenue create the Bronzeville: agroup- of art anotherPicasso, influential large-scale works on buildings is established. is ists painting on the walls of Flamingo, Highsmith.

Credit: Credit: 1 974. 974. 1

Riverwalk, and other signature spaces. city Cultural Center, Millennium Park, the Chicago throughout the year the at historic Chicago while presenting free and diverse arts activities programs to strengthen the cultural landscape such as the Year of Public Art, DCASE advances arts agency. In addition to citywide efforts Events (DCASE) in its work as the city’s municipal Department of Cultural Affairs and Special Commissioner Kelly leads the Chicago Cultural Affairs and Special Events Commissioner, Chicago Department of Mark Kelly

installations, and spectacle. installations, spectacle. and the South Loop as ahub for street art, Wabash Corridor Arts initiative —framing including serving as founder and chair of the roles over his 30 years Columbia, at media arts. He filled numerous leadership degree programs across creative and experience for its students different in 100 fostered and oversaw an immersive arts Columbiaat College Chicago, where he the Vice President for Student Success Prior to joining DCASE, Kelly served as

Letter from Commissioner Kelly 17 The Nathan Manilow Sculpture Park opens at 1976 Governors State University just south of Chicago, in University Park, Illinois. Works by Mark Di Suvero, Mary Miss, Bruce Nauman, Martin Puryear, Richard Rezac, Christine Tarkowski, and Tony Tasset are featured in this open air gallery of more than 100 acres. Image: Martin Puryear, Bodark Arc, 1982. Credit: Nathan Manilow Sculpture Park, Governors State University, University Park, Illinois.

The Chicago City Council approves the Percent for Art 1978 ordinance, requiring that a percentage of construction costs for all municipal buildings and projects be directed toward public art. Resulting commissions often tap regional artists, giving greater visibility to the neighborhood arts community outside museums and galleries. To date, more than 500 artworks in over 140 locations have been commissioned thanks to this program.

Vision and background p18 Vision and A new vision for and ground

public art back- edge how art intersects with civic life and embedded in social practices that acknowl- evolve shape the field. As publiccontinues art to over for iconic works that have helped define and Chicago is apublic art city, known the world people togetherpeople through shared experiences. tial to surprise, inspire, challenge, and bring Above all, it must nurture art that has the poten- offer broad opportunities for participation. must welcome in creativity all of its forms and art. The process of commissioning public art in how the talks city about and supports public This moment calls for afundamental shift of forms across all of its neighborhoods. standard that supports artists working in avariety must take stock, adjust its vision, and create anew — to grow more expansive, interdisciplinary, — the city the city

1989 1981 Late 1970s–1980s Jyoti Srivastava. Jyoti sioned for aChicago park. Jr.), “Iwatched the birth The installation was funded an early nonprofit supporting and the Friends of the Parks, generally unsanctioned unsanctioned generally modernist artwork commis artwork modernist eoe unofficialsion —become structure to create vibrant Avenue and Cannon Drive. Cannon and Avenue XXII (IWill), Credit: 1981. of Chicago’s Street Art elements of the urban infra- embankments and other railroad painting crews graffiti for the love of getting a little bit more colorful.” move controversial and activities involving youth Chicago park lands. It stands (I Will), becomes the first Image: Ellsworth Kelly, Curve Curve XXII Kelly’s Curve Ellsworth the Arts, the of City Chicago, the National Endowment of wall and make that train ride mural in Grant Park with the paint atemporary 480-foot recalls crew leader Flash ments. “From 1982 to 1987,” ABC (Gabriel Carrasquillo by hundreds of individuals, individuals, of hundreds by up. by kids started The art Graffiti and street art in Lincoln Park at Fullerton Public School students. students. School Public Keith Haring visits Chicago to New York-based street artist to brighten up abrick doing started who people to Movement with afront seat forms of political expres- help of nearly 500 Chicago — -

- public art in the city. Chicago Public Plan Art , as ameans to advance Events (DCASE) has created this document, the Department of Cultural Affairs and Special ecosystem. For this reason, the Chicago steward and for advocate adiverse public art ofThe City Chicago has aresponsibility to

Vision and background 20

1999 1992 1991 J. Jacob Lawrence, Lorna sculptures decorated by by decorated sculptures The Harold Washington Washington Harold The The Harold Washington Washington Harold The charged issues such as AIDS, create public It expands art. exhibition that places artists of Lois Weisberg,lon city’s the debut under the leadership of Cultural Affairs. collection of more than 50 globe. The idea originated gest serving Commissioner Commissioner serving gest attracting global attention attention global attracting exhibitart and world- public hugely popular a artists is represented, represented, is artists renowned internationally and artistic expression from local within communities to wide phenomenon. Three public to address art highly public spaces across the city, program. Abroad range of pieces of public funded art notable artists. notable 50 countries around the Simpson, and Nancy Spero. Chicago hosted its American its hosted Chicago Conwill, Edgar Heap of Birds, a seminal Culture in seminal a Action, opens, Cows onParade opens, Knowledge and Wonder Image: Kerry James Marshall, Manglano-Ovalle, and Daniel Haha, Suzanne Lacy, Iñigo of notions traditional Mary JaneMary Jacob curates to Chicago’s to scene art and Library opens with a Legler Branch Library, 1995. Library is one of many homelessness, racism, and hundred life-sized cow by the city’s Percent for Art branches to house works by later traveling to more than than more to traveling later in displayed are artists local included are Mark Dion, artists the Among illiteracy. in Zurich, Switzerland, and including work by Houston Martinez. ,

History and methodology Public Program. Art As more input was ordinance and governance of the Chicago Art for Percent the for: responsible directly Initially, efforts focused on the work DCASE is across the country. from practitioners leading meetings with various agencies city including to the DCASE Culturaland Advisory Council, survey offered through Textizen, presentations Washington Park Incubator, Arts a public halls the at Chicago Cultural Center and the in Chicago. These endeavors included town and other citizens on the future of public art cultural leaders, neighborhood advocates, tobegan formally solicit input from artists, With these goals in mind, DCASE in 2014 a sense of place. expanding neighborhood cultural assets and could acore be in strategy elevating and proposed that expanding art in public places to map the city’s cultural future. The plan thousandsengaged of Chicagoans in an effort growth, the Chicago Cultural Plan 2012 as ablueprint for policy to support cultural first plan for the 1986.arts sinceDescribed Commissioner Michelle T. Boone as the city’s Cultural Affairs and Special Events (DCASE) Rahm Emanuel and Chicago Department of Cultural, presented Plan by Mayor 2012 in conversations surrounding the Chicago Public art emerged as arecurring theme

The resulting Chicago Public Plan Art follow. that recommendations other meetings as the serve basis for the 2017. input Collective from these and in spring stakeholders to presented and incorporating public input was conducted Threats) analysis on public art in Chicago (Strengths, Weaknesses, Opportunities, ways to increase collaboration. ASWOT addressed agencies sister and departments public art. Focus groups with of City Chicago with community leaders in its planning for on cooperation among agencies city and in 2016, increased DCASE placed emphasis With the arrival of Commissioner Mark Kelly process. planning in the artists of importance of public art to highlight and recognize the leading artists and thought leaders in the field hosted aseries of themed conversations with for public art across the city. DCASE also visionary document inspiring anew direction and procedures focused effort to amore from policy a evolved project the gathered, and more essential than ever. Chicago where as acity public art is valued for vision shared a establishing — forward art, while providing context for the way vibrancy of Chicago as ahome for public history and culture. It celebrates the cultural and narratives that offer asense of Chicago’s weaves policy together with images, voices,

Vision and background 21

2004 2003 state-of-the-art airport symbols of the and city major 10 most visited10 sites in the The completion of Midway Today, Millennium Park is counted among the top designed to incorporate internationally by collection cant additions to its art quickly become iconic iconic become quickly attracting more than 25 attraction in the Midwest, as one of Chicago’s most as “The Bean”— Anishart. Kapoor’s Cloud redevelopment project pro- redevelopment project million visitors annually and and annually million visitors major installations of public from artists renowned Chicago and across the vides Chicago with a Gate, destinations. tourist visited — Gate Fountain, International Airport’s Image: Anish Kapoor, Cloud Image: Jaume Plensa, Crown Millennium Park opens, terminal as well as signifi- Plensa’s United States. United United States. United featuring alandscaped setting factors of the park’s success known as the number one 2004. 2004. popularly known known popularly Crown Fountain 2004. and Jaume

2017: The Year of Public Art Project, commissioning new work in all of and the new 50×50Neighborhood Arts a public art youth corps, apublic art festival, departments, includes the creation of million investment by DCASE and other city The year-long initiative, representing a$4 role public art has in played Chicago’s history. South Side 43rdat Streetand Langley Avenue on the and the Wall of Respect, which once stood seminal artworks commemorates the anniversary 50th of two Plan Art Public catalyst for the launch of the Chicago The Year of Public provides Art aunique — and highlights the important . The citywide celebration — the Picasso in Daley Plaza

the recommendations of the plan. forneed and feasibility of implementing government agencies has affirmed both the from artists, aldermen, residents, and theengagement program has generated and the groundswell of interest and on the equity of public art development Chicago’s 50wards. The increased focus

Vision and background 22 Goals and recommendations p23 Goals and dations and recommen Percent for Art Program Program forPercent Art Update Chicago’s Goal1 partially funded by the city. and infrastructure investments, whether wholly or Explore updating the ordinance to cover capital a toof reflect spectrum artistic mediums. Review the definition of public art in the ordinance and elevate experiences everyday into the diverse ways artists can inspire thinking definition of publicacknowledges that art expanded. Programs have embraced abroad 40 years ago, the field of public has art Since the adoption of this policy nearly ordinance. due in large to part the success of Chicago’s programs throughout the United States, Today, there are more than 200 similar asideset for the creation of original artwork. public buildings percent in (1.33 this case) be mandating that aportion of the cost of municipalities to implement an ordinance In Chicago was 1978 one of the first

effectiveness: in the field and increase its flexibility and program in line with the most current thinking The following recommendations will bring the ment in the city. position it to support public art develop- developments in artistic practice and better procedures is to respond needed to new and policies applicable ordinance and A revision of the current Percent for Art remains unchanged. largely and transit ways. Yet the Chicago ordinance thein design of civic spaces, buildings, bridges, support the work of artists as collaborators extraordinary ones. The field has expanded to

2010 2009 The Chicago Park District community programs and efforts include Avenue Perry transform to education an organizationan advancing partners with Chicago public installations. art urban agriculture, and art, Sculpture International, International, Sculpture Since its founding, major Sweet Water Foundation, Sweet Water Foundation. Commons, National a vacant spaces into sus- Image: Emmanuel Pratt, Park and Englewood neigh- Endowment for the Arts- tainable community assets. Emmanuel Pratt founds foreclosed properties with former multi-acre farm and initiative placemaking funded borhoods transforming a local galleries, and EXPO in Chicago’s Washington and design. of artists the at earliest stages of project planning Create asystem that encourages the involvement development of public art throughout the city. allocationsArt to support equitable and strategic Investigate the possibility of pooling Percent for program. Art for Percent the for eligible are projects Determine clear procedures for identifying which efficient and timelyadministration of the program. Develop clear roles and responsibilities to ensure development. different at engagement stages of project Revise guidelines for community input to support and fair artist selection. quality ensure to procedures and policies Improve

Goals and recommendations 25

2013 2012 2011 The expanding the city’s public art and improving emphasizes 2012 and economic growth. It scale pedestrian waterfront waterfront pedestrian scale stations across the city. New New city. the across stations work for the city’s cultural policies and practices. Theater, fountains, fishing The Chicago Park District on early investments, today events to local parks across culture programming into expands the Chicago Transit 2015. Credit: Aron Gent. and writers from around around from writers and and throughout the city and Franklin Street. Building air dance floor in Grant works continue to be added. works exhibited in 50 transit parks along the lakefront lakefront the along parks installationsrary art to the public art installations. art public piers, floating gardens, and River a music performances, released, aimed at trans- presents more than 1,000 Authority’s public art collec art public Authority’s Styles brings graffiti artists SummerDance, the largest Chicago to bring to tempo Chicago Chicago every year. California station (Blue Line), Out inOut the Parks, an initiative Chicago Ground Cover Looking Up, 2015. (ongoing). Harmony ofthe World, International Meeting of Image: Tom Friedman, Image: Patrick McGee, the world to Chicago. the Chicago Riverwalk Riverwalk Chicago the the Chicago River into afull- to the Chicago Riverwalk are Plans for amajor expansion to bring quality and arts Mayor Rahm Emanuel Park that hosts Chicago tion with more than 60 new features restaurants, live forming the south bank of free, world-class cultural between Lake Shore Drive hoods. Today, the program local Chicago neighbor Chicago local launches the inaugural Night is an artist-designed open- Chicago Cultural Plan presents a frame a presents - - -

26 space is expanded to nearly The series has since grown expanded and 1999 2011. enjoy free dance lessons by and dancing series in the live outdoor annual music professional instructors in a 5,000 square feet, enabling Chicago Ground Cover , 1997, variety of genres each year. Night in Out the Parks. Image: Dan Peterman, thousands of visitors to to visitors of thousands the in city collaboration with to include events in neigh- United States. the In 2011 borhood parksthroughoutborhood

governmental practices governmental practices transparent Establish clear and Goal2 residents. In its role, the city agencies, community organizations, and requires input from artists, government Public art is acollaborative process that art. Feedback from the public during the public support to processes and procedures and Special Events (DCASE) Chicago Department of Cultural Affairs smoothly and effectively. DCASE to help the public art program function more aldermanic offices to work collaborationin with Identify points in of contact agencies key city and strategic implementation of the public art program. advance ashared vision and ensure and effective Convene and city community stakeholders to —

establishes — with the ivize the creation of public art: these procedures to promote and incent- increase transparency and effectiveness of The following recommendations aim to should clearer. be the city’s public art permitting procedures development of this plan revealed that

Goals and recommendations 27 the city throughout public art the creation of support Expand resources to Goal3 public safety and notification requirements. reducing barriers for artists while maintaining procedures for art in the public right-of-way, Collaborate with agencies city to review art. public for procedures Educate the public about the city’s permitting procedures. permitting art public improve Work with applicable agencies city to refine and the applicable Percent for ratio. Art Explore the benefits and feasibility of increasing increase revenue. related to the Percent for ordinance Art to Implement strategies outlined in 1 Goal outlined in this plan are met. are critical to ensuring the recommendations to explore new collaborative approaches analysis of existing models and a willingness resources alone are not sufficient. Careful and philanthropic communities, as current support from Chicago’s public, private, neighborhood in Chicago. This requires becomes adefining characteristic of every The of goal this plan is that to public see art

Chicago’s neighborhoods: support public art in many forms across that can generate additional revenue to variety of public and private funding models The following recommendations explore a

Goals and recommendations 28

2013 Jo Reynolds’sJo Tamms Year solitary confinement. sons, results in the closure Ten Tamms Correctional Center Center Correctional Tamms one of the city’s major cul of the supermax facility at per incarcerated currently art. Toart. date, nearly 40 South the transform artists and international mural murals have been created participation of former of participation and Social practice artist Laurie Corridor, where students Corridor, students where Chicago College Columbia thanks to the initiative. tural assets through street Loop business district into launches the Wabash Arts is used to hold prisoners in prisoners hold to used is in southern Illinois, which project, involving the

- - bridges, streetscapes, lighting, or other projects. in all infrastructure city development, whether Promote artful design and inclusion of public art building projects. environment and avaluable component of new art as adefining characteristic of Chicago’s built Encourage the private sector to embrace public acrossactivity the city. spaces as centers for public art and creative Spur investment in Chicago’s parks and open programs. establishing art public invest in Chicago’s neighborhoods by expanding or Encourage arts organizations and funders to projects. art public breaking that can support ambitious plans and ground and individuals to create a“public art fund” Rally support from private entities, foundations, support public art in neighborhoods. opportunities that will increase resources to sister agencies to identify grant and funding Organize an internal task force of and city supporting public art. models in other cities to identify new ways of Review best practices and alternative funding

Goals and recommendations 29

2015 2014 Jacob at the School of the demonstrates the growing organized Jane Mary by The city’s first Chicago 2014 (right). Credit: Jacob exhibitions and to advance groundbreaking projects and as asite of architectural A Proximity of work for social change in Art InstituteArt of Chicago, photographs houses slated platform for presenting Amanda Williams paints and Architecture Biennial/ Architecture Biennial Architecture is Social an Action, exhibition Consciousness: and Art 2015. Credit:See?, 2015. Chicago One featured exhibit is Chartoff. Chicago's historic place visual artist and architect , inColor(ed) Theory which Chicago: How DoYou Moose Bubblegum Bubble, (left), and Jacob Watts, the public sphere. public the Image: RETNA, mural, 2014 Image: Norman Kelley,Image: Nathan Keay. launched, an international impact of artists who innovation.

30 of neighborhood vacancies. 2014. Credit: Amanda attention to both the proper Color(ed) Theory seriesColor(ed) Theory , Pink Oil Moisturizer, Williams. Image: Amanda Williams,Image: ties themselves and the issue Englewood in order to bring for demolition in West

- and the public good neighborhoods, artists,that support Advance programs Goal4 and celebrate neighborhoods. other social and community-based practices. with the public, including festivals, parades, and includes the various ways art and culture engage Embrace abroad definition of public that art organizations with residents, agencies, city and community span across disciplines and its core, at engagement artists’ work can munities and thrive. people With public fostering the conditions in which com- andArt culture play an important role in

—

create projects that support support that projects create —

in collaboration

Chicago’s neighborhoods: contribute to the and health vitality of programs andcultural initiatives that will develop and support awide range of The following recommendations will

Goals and recommendations 31 systems managementcollection the city’sStrengthen Goal5 hoods with public art. vacant and underutilized properties in neighbor - Promote collaborative programs to transform art programs and solutions. with agencies city to develop more creative public Establish programs artists that engage to work programs for youth development and inclusion. and programming in neighborhoods, including Encourage arts organizations to expand resources assets. existing initiate new public art or preserve and amplify direct funding to artists and organizations that Develop or adapt grant programs to increase events, performances, and happenings. spaces through temporary public art installations, Support programs civic and that activate public increased conservation costs. conservation increased maintained can deteriorate and result in resources. Works that are not properly are prioritized and on need based available projects assets. Conservation civic important budget to support long-term care of these and challenges. The allocates city a modest ownits unique maintenance requirements spaces and municipal facilities, with each more than 500 artworks in avariety of public Chicago’s collection of public art consists of

preserve civic assets for generations to come: timely maintenance, reduce costs, and collection management systems, ensure investment will modernize the city’s and management systems. This necessary additional resources for collection staff The following recommendations will require

Goals and recommendations 32

2015 sale of Gates’s work and Theaster Gates opens the collections and gallery and and gallery and collections Side. South the on corridor courtesy of Rebuild a once-thriving commercial a performance spaces. in building bank renovated Stony Island Bank Arts in a Bronzeville, 2015. Organized $1 and funded through the Image: Stony Island Arts Image: Fo Wilson and the Rebuild Foundation, the the Rebuild Foundation, the Purchased from the for city Harris Bank, Credit: 2015. Tom Norman Teague, Sounding Foundation. facility is home to archival archival to home is facility by Bronzeville Community © Hedrich Blessing,

nance issues. nance for routine care and limit extraordinary mainte - agencies that house artworks to develop plans Investigate shared responsibility models with city are developed. prepare for long-term care of artworks as projects Implement new requirements for artists to nance needs. public art projects and their ongoing mainte Improve systems for tracking and completing donations. and loans, for public art accessions, deaccessions, gifts, Develop clear collection management procedures assets. existing of condition the assess public art collection to identify new assets and Begin acomprehensive inventory of the city’s

Goals and recommendations 33 The project is commissioned commissioned is project The The 606 trail system and park opens to the public in June. a core of the part program. artists and “arts thinking” as as apublic-private part- planning that integrates public and infrastructure art redesign of the former nership between the of City Chicago, The Trust for Public Image: The 606, 2015. Bronzeville. Bronzeville. Development Partnership, Bloomingdale rail line estab- Frances Whitehead. The Park District with lead artist Land, and the Chicago lishes anew model for

do to create public art andartists organizations theSupport work that Goal6

Goals and recommendations 34 Chicago’s public art and engagement with Build awareness of Goal7 and innovative. and to creating programs that are diverse community-based organizations is essential nurture relationships artists between and art. In addition, the ability to develop and all Chicago residents have access to public hyperlocal expressions helps ensure that Support for spontaneous grassroots and beyond government commissions. The recognizes city that public art exists programs in neighborhoods. planto effectively and implement public art AreasService and chambers of commerce Design programs to address the of Special needs and opportunities for artists. resources promote collaboratively to agencies Establish amechanism for commissioning public create art. that organizations building programs for artists and community Support professional development and capacity opment and funding processes. communities through the city’s public art devel- Create resource toolkits that guide artists and

local agencies,local and organizations: learning and collaboration artists, between public in art ecology order to encourage broader Chicago’s for support providing at The following recommendations are aimed

Goals and recommendations 35

2016 ship with Chicago. EXPO The OVERRIDE billboard culture is disseminated in local and advertising of cutting-edge citywide public artists to intercept and push art initiativeart in partner- presents the opportunity for project is launched as a Integrated into the language the boundaries of how visual familiar signage, OVERRIDE signage, familiar experience these works through technology, Increasing opportunities for the public to of inspiration for both residents and visitors. city’s neighborhoods and provide sources These assets are woven into the fabric of the transitways, and civic spaces with public art. programs that enliven its streets, plazas, parks, Chicago is fortunate to have anumber of and protect the city’s public art collection. work of individuals and organizations to preserve Develop programs that directly support the of artists, residents, and agencies. city art program that highlights the collaborative work Publish an annual report for the city’s public audiences. new for and reimagine existing or historic public artworks Commission new artworks that reinterpret audiences. engage that content in the form of maps, tours, and guides Create interactive and participatory educational federal,state, sister and agencies. complete listing of projects and programs by local, access to the city’s public art collection to include a Build apublic art website and expand mobile

ship of the city’s vast public art collection: increase public and engagement steward The following recommendations aim to art in the city. awareness and illuminate the value of public public programs, and publications will build

Goals and recommendations 36

2017 Museum vr R. Avery Andrew Schachman, and Jeremiah Hulsebos-Spoffard, Image, right: Faheem Majeed, Howlings Image, left: Candida Alvarez, Riverwalk. of public on the art Chicago inaugurate the first season Museum, Howlings the and mural monumental scrim The Chicago’s neighborhoods. throughout projects art of more than 60 new public commissioning the in results community projects, it investment in artist-led Representing a$4 million mances, tours, and more. festival, exhibitions, perfor- Project,Arts apublic art the 50x50 Neighborhood The initiativeArt.” features the2017 “Year of Public Special Events designate of Cultural Affairs and Department Chicago the Mayor Rahm Emanuel and our increasingly image- Cheshire, Cheshire, Image: SanfordImage: Biggers, based environment. based Young, , 2017. , 2017. among other works, other among 2016. Floating Floating

37 in the 22nd Ward, 2017. School Elementary Corkery Project, Neighborhood Arts Art, Mexican of the National Museum of Image: Yollocalli Reach Arts projectsart across the city. adults working on public program for youth and young youth corps paid internship also introduces apublic art Chicago program, the city Emanuel’s Summer One In conjunction with Mayor the 2017 Year of Public Art. Cultural Center of as part the first mural for the Chicago movementthe civil rights the influence of history and whose signature style evokes Kerry James Marshall tial work as avisual artist, In recognition of his influen- is commissioned to design design to commissioned is

mural, 50x50 —

—

38 Image: in a Night Out at the Parks presentation for the Year of Public Art, artist Erica Mott and dance team perform ELEMENTAL: Spectacles of Earth, Air and Water at Palmisano Nature Park in the 11th Ward. Credit: Doris Jasper. Public dialogue on the Balbo monument in Grant Park emerges as part of nationwide conversations on commemorative statues and the meaning and histori- cal significance of public art. The Chicago Public Art Plan is released at the Chicago Public Art Symposium, a convening of artists, scholars, community organizers, and public agencies to explore the intersecting values of their work and the future of public art in Chicago.

Acknowledgments p39 Acknowl- edg- edg- ments Fermin Gutierrez, and Muni Tam. Douglas Fox, Filippo Secchi, Jamie Wells, Park: (from Emiliano top left) Reale, Anish Kapoor’s Gate Cloud features images taken by visitors to The cover of the Chicago Public Plan Art Hank Willis Thomas, and Rebecca Zorach. Eck, Frances Whitehead, Amanda Williams, Christine Tarkowski, Tony Tasset, Tricia Van Rakowitz, Laurie Jo Reynolds, Michael Rohd, Emmanuel Pratt, John Preus, Michael Mendi Obadike, Kym Pinder, Jon Pounds, Mazzotta, Cesareo Moreno, Keith Obadike, Nicole Marroquin, Ed Marszewski, Matthew Lisa Lee, Lou Mallozzi, Inigo Manglano-Ovalle, Walter Kitundu, Suzanne Lacy, Jim Lasko, Howenstein, Richard Hunt, Sacha Kagan, Gates, Eddie Granderson, Hodes, Scott Drea Stephanie Garland, Maria Gaspar, Theaster Paul Durica, Bob Faust, Joyce Fernandes, Romi Crawford, Meg Duguid, Jim Duignan, Olivia Block, Candy Chang, Kevin Coval, Abdul Alkalimat, Lynn Basa, Naomi Beckwith, the plan: Miguel Aquilar, Marcus Akinlana, in “artist conversations” helped to shape art thought leaders whose participation Among them include artists and public opment of this plan. individuals that contributed to the devel and organizations, agencies, many the edge and Special Events would like to acknowl- The Chicago Department of Cultural Affairs in Millennium in Millennium

American as of part Design Art Art Chicago. Public provided Art by Terra Foundation for Additional grant support for the Year of provided by Allstate Insurance Company. Grant support for the Chicago Public Plan Art funder Lead David McDermott, and Wendy Miller. Julie Burros, Tracie Hall, Barbara Koenen, Contributors also include: Michelle T. Boone, Thomas Dyja Essayist Fredrickson Thomas Editor Studio Blue designerLead Tim Samuelson, Cultural Historian Art Public and Nathan Mason, Curator of Exhibits Greg Lunceford, Curator of Exhibitions ProgramPublic contributors Art Melanie Wang, Director of Cultural Planning Daniel Schulman, Director of Visual Art of Programming Erin Harkey, Commissioner Deputy Chicago Public Plan Art project team Partnerships of Erin Roberts, Commissioner Deputy of Finance Kenya Merritt, Commissioner Deputy Jamey Lundblad, Chief Marketing Officer Director of Special Events Jennifer Johnson Washington, Ann Hickey, Commissioner Deputy of Facilities Programming Erin Harkey, Commissioner Deputy of Mark Kelly, Commissioner Eventsand Special Cultural of Chicago Department Affairs