In St. Paul, Minnesota, public art is valued as more than just decoration. Susannah Schouweiler of Walker Magazine reported that the city has been proactive in the encouragement of artist-city government collaboration for nearly three decades, long before initiatives like ArtPlace became popular. City Artist in Residence positions exist on the government council, City Art Collaboratory puts artists in conversation with scientists to embed themselves in the “ecology” of the city, and art start-ups are encouraging business growth on “Central Corridor.” This cross-disciplinary relationship is only expanding in what Schouweiler calls St. Paul’s “quiet revolution in public art” and the city is reaping the benefits.
Chicago area artists age 12 to 87 have painted larger-than-life fire hydrants for a public art project on display throughout the city until November 11. The project, called the Great Chicago Fire Hydrants, aims to decorate 101 five-foot-tall fire hydrants (one for each Chicago firehouse) before November 11, when a public auction of the hydrants will raise money to benefit the 100 Club of Chicago and “other fire-related charities.”
Find the hydrants on this map. Most are downtown, but Mt. Greenwood’s Funkie Fashions, Gordon Tech High School, and Swedish Covenant Hospital are among the neighborhood spots. Check out the website’s gallery of completed fire hydrants if you can’t hoof it to all the locations.
And if you’d like to decorate one, reach out here to the organizers here.
When London-based Two Islands took first place in Flint, Michigan’s first Flat Lot Competition for public art, images of their floating, mirror-clad meditation on the foreclosure crisis turned heads. Six months later the project has been built, but it faced challenges and has drawn criticism making the leap from rendering to reality.
LAX finally opened its shiny new Tom Bradley terminal, designed by Fentress Architects, to quite a hullabaloo in July. The throngs who showed up for “Appreciation Days” got to enjoy shopping, music, and even free LAX keychains and knickknacks. But one of the most prominent elements was missing: the public art. Major pieces by Ball-Nogues, Pae White, and Mark Bradford were all delayed for what one participant called “a lack of sophistication on LAX’s part” in shepherding such work through. In other words, the officials didn’t get how to pull this kind of thing off. Well never fear, despite the bumps, contract disputes, and many miscues, the installations will begin opening in late September and continue through the end of the year. Better late than never.
Streets occupy nearly a quarter of New York City’s land, however there are limited outdoor spaces to socialize, sit, and enjoy city life outside of parks. As part of an effort to improve the quality of public space for all New Yorkers, the NYC Department of Transportation (NYCDOT) has been developing new public open space by converting underutilized street spaces into pedestrian plazas. With dozens of plazas already open and functioning across the city, the NYCDOT has been looking to polish the new spaces, installing permanent designs, improved benches, and now, specially designed signs to showcase public art.
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In 2011, a major expansion to Edmonton, Alberta’s Quesnell Bridge generated an ongoing effort to enliven the landscape surrounding the overpass, which connects the northwest and southwest portions of Canada’s fifth largest city. A resultant public art commission from the Edmonton Arts Council for Los Angeles–based multidisciplinary design-build fabricators Ball-Nogues Studio called for an engaging installation along the south side of the North Saskatchewan River, which sees a live load of 120,000 vehicles each day.
While brainstorming the project, it was apparent to the firm’s principal and designer in charge Benjamin Ball that the areas immediately surrounding the bridge were not carefully considered by passengers. “It was a sort of no-man’s-land between the transportation infrastructure and the landscape,” he recently told AN. Drawing inspiration from the mundane—sand piles, gravel, and detritus from the trucking industry—and the majestic—talus and scree formations enveloping the base of surrounding cliffs—Ball and the studio’s cofounder Nogues applied their knowledge of sphere packing to echo the angle of repose of natural and man-made mounds. Read More
The ongoing efforts of artists and designers to reignite the spark of downtown development in aging industrial cities face no simple task. But as architects and developers begin to put pencil to paper, the best public art projects draw on the spiritual side of that renewal.
Flint, Michigan’s inaugural Free City Festival, held May 3-5, did just that when it revived a mile-long stretch of now-razed Chevrolet plants with public art, transformational lighting displays and a reverberating gospel choir.
Starting Memorial Day, Chicago’s Millennium Park will host the U.S. debut of a bright array of public design projects, many of which appeared at the 2012 Venice Biennale. Spontaneous Interventions: Design Actions for the Common Good will feature 84 works, including more than a dozen for Chicago and several that also appeared in Venice.
Yesterday, brilliant sunshine, a gentle spring breeze, and 65 degree weather set the scene for the inauguration ceremony of Orly Genger’s remarkable new art installation, titled Red, Yellow and Blue, in Madison Square Park. As you navigate your way through the park you will find yourself surrounded by a fanciful scene, as vibrant undulating walls arch into blossoming trees, spill onto lush lawns, and unfurl all around you.
“Orly Genger has woven her magic throughout the park,” said Mayor Bloomberg, who spoke at the inauguration ceremony. The large-scale project was installed as the latest chapter of Mad. Sq. Art, a public contemporary arts program presented by Madison Square Park Conservancy that aims to revitalize the park as well as the surrounding community. “[Red Yellow and Blue] is both innovative and environmentally sustainable. It is projects like this that are a big part of what gives New York City our identity and attracts visitors to our city,” said Bloomberg.
In June a full-block surface parking lot in downtown Flint, Mich. will house a ghostly, floating home — a monument to the ravages of the foreclosure crisis and a nod to the revitalization public art projects like this one hope to further in the one-time home of General Motors.
London-based Two Islands took first place in the inaugural Flat Lot Competition, which comes with a $25,000 prize, for their design, Mark’s House. The story of an imagined Flint resident named Mark Hamilton, whose family loses their home to foreclosure, Mark’s House takes the form of a Tudor-style house clad in reflective panels and set atop a mirrored pedestal. The structure can hold 1,500 gallons of water to be used for cooling mists for visitors to the structure’s canopy and event stage on hot summer days.