Public Arts, Meet Professional Practices

Abstract

For the first time in 50 years, the 2010 Census reported that Philadelphia’s population increased by 0.6 percent, a seemingly small margin. But compared to the previous decades of decline in aging industrial cities such as Philadelphia, Baltimore and Chicago, this tiny growth spurt is an enormous leap (Steuer 2011). As our population develops, so do construction, renovation, gentrification, civic engagement and community-building efforts. Public artworks are an important part of initiatives to increase the quality of life through the activation of forgotten or neglected spaces (PennPraxis 2009). The Philadelphia City Government has placed particular importance on the benefits of arts and culture by creating the Office of Arts, Culture and the Creative Economy in 2008 and hiring Gary Steuer (former President & CEO of the Arts & Business Council and Vice President of Private Sector Affairs for Americans for the Arts) to head this department as Chief Cultural Officer.

For the purposes of this discussion, public art is defined as any form of art that can be accessed free of charge by the public but not contained inside a museum or gallery. Traditionally, these would be political or historical monuments or murals, but public works include new media like the permanent LED light installations by the Center City District along Broad Street, temporary installations such as the Miss Rockaway Armada rafts on the Schuylkill River (see Picture 1) (Steinburg n.d.), and other imaginative formats. Graffiti was not considered; however, one may argue that the wheat pastes by notable street artists such as Shepard Fairey and Swoon could be catalogued with public art as well. The idea of accessibility is crucial to creating public works. If less than 10 percent of the population can appreciate the work, then it is likely not serving its designated role.