WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors. Surprisingly, this research has transformed, rather than confirmed, personal perceptions I originally held about the public’s relationship with public art. ii Dedicated to My fiancé Greg whose support has been immeasurable throughout this process & My family who has made this accomplishment possible iii ACKNOWLEDGMENTS I would first like to thank my advisor, Dr. James Sanders III, for his incredible assistance and guidance throughout this process. The time and insight that he has given to help strengthen and refine this thesis has been extraordinary. I would also like to thank Professor Malcolm Cochran for donating his time and expertise to be a vital part of my thesis committee. I wish to thank Dr. Margaret Wyszomirski who has been a tremendous mentor throughout my entire graduate career at Ohio State University. The time, advice, consideration, and opportunity that she has given to me over the past three years have been immeasurable. I would like to thank the Art Education department at Ohio State University which has been so helpful throughout my entire time as an Ohio State graduate student. I would especially like to thank Kirsten Thomas, Savenda Fulton, Pat Stuhr, and Dean Karen Bell. I would like to thank Millennium Park Inc. and the Chicago Department of Cultural Affairs who assisted me with my research. I would like to thank the citizens of Chicago who were so eager to share their personal opinions, beliefs, and suggestions with me about Millennium Park, public art, and their own participation experiences. Finally, I would like to thank my loving fiancé, Greg and my entire family who provided the support necessary for me to complete this research. iv VITA January 2, 1978……………………….Born – Columbus, Ohio 2001…………………………………..B.A. History of Art, Ohio State University 2001 – 2005…………………………..Manager, Museum Stores and Publications Columbus Museum of Art Columbus, Ohio 2005 – 2006…………………………..Executive Director Abstract Earth Gallery Columbus, Ohio 2006 – SU2007……………………….Graduate Teaching Associate, The Ohio State University 2006 – SU2007……………………….Research Intern, Ohio Cultural Facilities Commission FIELDS OF STUDY Major Field: Art Education v TABLE OF CONTENTS Page Abstract……….………………………………………………………….………………ii Dedication…………………………………………….………………….……………...iii Acknowledgments…………………………………….………………………..………..iv Vita……………………….…………………………….……………….………………..v List of Figures………………………………………….………………..……………….ix Chapters: INTRODUCTION .............................................................................................................. 1 1.1 Discovering the Thesis Topic........................................................... 1 1.2 Purpose of the Study ........................................................................ 4 1.3 Ontological perspective.................................................................... 5 1.4 Epistemological Perspective ............................................................ 6 1.5 Chapter Descriptions........................................................................ 7 1.6 Necessary Considerations ................................................................ 8 REVIEW OF THE LITERATURE .................................................................................. 10 2.1 Thesis Terminology ....................................................................... 10 2.1.1 Defining Public Art ........................................................... 11 2.1.2 Identifying Public Participation ....................................... 12 2.1.3 Defining the Public ........................................................... 17 2.1.4 Veiled Implications of “Public” and “Public Art” .......... 18 2.2 The Importance of Public Participation in Public Art.................... 20 2.3 An Overview of Public Art and Public Participation..................... 23 2.3.1 Public Participation in Politics ........................................ 23 2.3.2 Changes in Art and Public Reaction ................................. 25 2.3.3 Urbanization and its Effects on Public Art ....................... 30 2.4 Evidence of the Public in Public Art.............................................. 33 2.4.1 Controversy is a Voice ...................................................... 33 2.4.2 In the Presence of Public Art ............................................ 38 2.4.3 Speaking through the Media ............................................. 42 2.5 The Private Sector in Public Art .................................................... 43 2.6 Chapter Conclusion........................................................................ 44 METHODOLOGY ........................................................................................................... 47 3.1 Case Study Research...................................................................... 48 vi 3.2 Survey Research............................................................................. 49 3.3 Discourse and Textual Analysis..................................................... 51 3.4 Ethnographic Fieldwork................................................................. 52 MILLENNIUM PARK ..................................................................................................... 53 4.1 A Brief History of Public Art in Chicago ...................................... 53 4.2 A Tour of Millennium Park............................................................ 57 4.3 Roots of the Park............................................................................ 68 4.4 A Chicago Tradition of Private Support ........................................ 71 4.5 Why a Millennium Park? ............................................................... 72 4.6 The Creation of Millennium Park .................................................. 76 4.6.1 Fundraising for the Park .................................................. 77 4.6.2 Dipping into Public Funds ................................................ 79 4.6.3 Public Involvement in the Park’s Creation ....................... 80 4.6.4 Excluding the Public in the Park’s Creation .................... 83 4.6.5 Bumps in the Road ............................................................ 85 4.6.6 The Role of the Media in Millennium Park ....................... 89 4.7 Chapter Conclusion........................................................................ 91 FINDING THE PUBLIC IN PUBLIC ART..................................................................... 92 5.1 Demographics of Survey Participants............................................ 94 5.2 Visitation to the Park...................................................................... 95 5.3 Opinions of the Art in the Park ...................................................... 97 5.4 What Participants Want from Public Art ..................................... 100 5.4.1 Art that is Physically and Cognitively Accessibile ......... 103 5.4.2 Art that is Interactive ...................................................... 104 5.4.3 Art that Attracts Attention and Embodies Civic Pride .... 107 5.4.4 Art as a Placemaking Tactic for Chicagoans ................. 108 5.4.5 Art that Offers an Escape ................................................ 110 5.4.6 Art that Educates ............................................................. 110 5.5 Public Participation in Millennium Park and Chicago Public Art Endeavors................................................................................................ 111 ANALYZING THE DATA ............................................................................................ 116 6.1 (Not) Representing Chicago’s Demographics ............................. 116 6.2 (Not) Just About Public Art ......................................................... 122 6.2.1 Public Sentiment toward the Daley Administration ........ 124 6.2.2 Private Donors as a Threat to Public Space .................