Page 12 - Studio International - February 1973

Public sculpture? intentionally public from the outset, designed to exclusive situation in which artists find
occupy an unregulated site (by which I mean themselves today, nevertheless I found myself
a place outside gallery, museum or park limits)." disconcerted by the total lack of contact and
In the post-Caro era there is no tradition for communication between the artist and the
public sculpture, which has always been subject general public.'
to a different set of circumstances from gallery `Then, as now, I really didn't consider the
sculpture. A provision was made for sixteen nature of the opportunity as being any other
sculptors to tackle the brief of making a public than a chance to extend my own experience of
sculpture. 'The artist's style as subject is a sculpture — the cooperation of the local authority
perfectly adequate source of meaning in (no doubt offered with the assurance that they'd
galleries and museums but it is not necessarily only have to put up with the stuff for six months)
sustaining to the larger public for the sculptures seemed enough to guarantee that "the problem
called public.'2 of public sculpture" was faced by the public and
The ways in which the sculptors measured up not the sculptor.'
to these opportunities varied surprisingly little. If the scheme were to be continued.= a
The work of one or two of the artists changed similar basis, involving the same artists, we feel
under the challenge of an unfamiliar brief, but that a vastly different set of work would emerge.
we were surprised at the proportion of solutions The experience gained during this project will,
which were merely a large version of a particular no doubt, have a considerable effect on the
sculptor's usual work. It is worth considering artists' attitudes and work under a similar brief
the attitudes of some of the artists quoted in the future.
during and after the event : `What I had not counted on, namely an intense
`To be put at risk in this way enables a variety feeling of disappointment at not seeing my
of ideas to be tested and there is no substitute sculpture erected, on any one of the several
for this experience . . . . The site did not dictate projected sites in Newcastle and Liverpool: and
the form the sculpture took, but it did allow the experience of seeing sculpture, great in its
certain things to happen which in working in own right, as sculpture, function somehow more
a studio situation could well not have occurred.' effectively as an element of the "real" world (i.e.
`What is the function of a city sculpture ? To in a "public place") than in an environment of art
`The New Art' exhibition at the Hayward appeal to and express to the multitude and/or (i.e. in a museum), have caused me radically to
Gallery last summer in many ways summarized the individual. In this project the artist was able revise my views on the subject, possibly towards
the decreasing level of communication between to go in his own direction. There was no public a view previously held — "it (the sculpture)
artists interested in extending the limits of art demand for his work, no event or person to be could be an object among objects, privileged
and the 'public'. The work was unfamiliar but celebrated or building to be decorated. There only by its unique configuration, its lack of
there was no introduction even for those who were limited resources. The artist could work recognized type or function . . . ." (Studio
were prepared to make an effort to understand from the tentative towards the concrete, from International, January 1969).'3
what was there. the confused to something definite, to discover `Those who wish to build bridges between the
This situation does not invalidate the work or his own results which would include the artist and the public must recognize that it is not
the exhibition but it does pose the problem of participation of a site and people.' enough to put up controversial works and then
whether the artist should be in any way `Although I make only large permanent expect them automatically to be accepted. Where
concerned with those beyond his immediate sculpture, this is the first time I have been able the City Sculpture Project has been at fault is in
circle of friends. to place a piece in a city centre for any length of its failure to expound clearly, and preferably on
Many of the works produced for the City time.' the actual site, what each work is trying to do.
Sculpture Project could have been made ten `The sculpture is conceived of as a "walk"; Explanation, persuasion are necessary."
years ago. They were not an extreme in the sense i.e. something which people could walk through, For practical reasons, the only direct contact
of The New Art's artifacts. The fact that the in and out of, lean against, scrawl on, dogs pee with the cities, prior to the installation of the
general public was somewhat amazed at the against etc., much as any other structure in a works, was with the staff and directors of the
city sculptures endorses our view that a very city, rather than be something that is merely city art galleries, city engineers, planners,
small proportion of the general public has any looked at.' architects and so on. Approval of the scheme
idea of what artists are up to. It is perhaps easier `The work undertaken was to be manifestly from the eight cities was sought in two stages :
to be aware of this situation when viewing it visual, very much to do with the eye, the site, and the aims and intentions were stated, and cities
from outside the somewhat introspective London the seasonal scenario'. were asked for an approval in principle of the
art scene. `This project has provided me with a unique Project. Surprisingly, all eight cities approached
With this in mind, the City Sculpture Project opportunity to experiment with new techniques agreed to an involvement, to collaborate with the
was conceived, and the Peter Stuyvesant and radically to change the direction of my organizers in suggesting feasible sites, without
Foundation's involvement was a continuation work.' knowing what to expect (perhaps this was an
of its established policy; its role was that of an `The problem of public sculpture is largely advantage). Direct collaboration with the artists
intermediary — not only providing financial with the public — not with sculpture'. followed, and proposals (subsequent to selection)
support and opportunities for (in the main) `The impact of a sculpture in a city should be were submitted for planning permission. The
younger artists, but doing so in such a way instantaneous, on a blatant and obvious level, it second stage, the approval of detailed proposals,
that the resultant work could be seen by a wide should be obtrusive so as to capture the attention brought the more predictable remarks:
public. The policy of the City Sculpture Project of the passing public.' `No one on the Committee liked either sculpture.
has been set out at some length in the July/ . . . . the idea of designing a sculpture for a But we supposed that beauty lies in the eye of
August 1972 issue of Studio International :— specific site, even if chosen by oneself, seems the beholder and someone must like them. We
. . . the problem of "going public" faces every to be a gross limitation on the sculptor's freedom felt that they would add interest to the city centre
artist, but the term public sculpture means of action.' and a little controversy.' (Leader of the City
something more specific. It refers to art that is `Although I was aware of the cryptic and Council, Birmingham.)

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