Reading about the recent decision to allocate 1% of the upcoming casino's tax revenue to host an outdoor sculpture competition in the city of Cincinnati got me thinking about public arts projects in other cities, and the cultural and economic impact it's had on those societies. Not only is it an effort to beautify the city for its immediate inhabitants, but it can also draw in people from outside the city, which has a positive impact on local business due to the influx of people.
There seems to be a plentitude of excellent ideas to promote and grow Cincinnati's already-flourishing artistic community, but the constant frustration is funding these projects. Public art projects which are unique to particular cities can be found all across the country (http://www.publicartprojectsofamerica.com/links1a.html).
The question that is always looming is “How do we get money?” Certainly it's a good start that there might be $200-thousand going into an artistic competition, which is proudly touted by city council member Laure Quinlivan as an opportunity for Cincinnatians to show support for the arts by voting on their favorite sculpture(s). These projects are certainly helpful, not only because of their immediate aesthetic appeal, but also because the show art as an integral part of the society in which it exists. It is important to build positive societal and economic associations by creating art that is accessible and visible to the entire community. Jen Cole, executive director of the Metro Arts Commission in Nashville, which recently published a 282-page report (titled Nashville/Davidson County Public Art: Location Study & Typology Recommendations) outlining strategies to implement public art projects, writes, “As part of our overall strategic plan, we wanted to 1) consider ways to scale public art throughout the county responsive to demographic and growth patterns and that would promote maximum access to public art; and 2) provide a framework for local artists.”
I think supporting funding for the proposed sculpture competition is a necessary first step. Similar competitions have been held in other communities, with positive results. They have popped up from San Diego (http://www.signonsandiego.com/news/2010/apr/08/city-hosts-outdoor-sculpture-contest/) all the way to Florida (http://polkmuseumofart.org/exhibitions/florida-outdoor-sculpture-competition/). And with at least partial funding from their respective cities. If Cincinnati's competition was guaranteed at least a certain amount each year for this project from the casino, it would definitely be a step in the right direction.
But beyond that I think it's important to maybe tap into the private sector to draw support for more research. As I'm sure most people are aware, there still needs to be more PROOF if we want to take public support of the arts to the next level. Research like that which was put in the Arts Ripple Effect can provide a compelling argument to support not only public artworks, but also the need for better arts education in our schools. I think if we can highlight the need for funding for more of this kind of research, especially from PRIVATE donors, it could actually have a exponentially bigger payout in the long run, because there will be more hard facts to support arts initiatives. Information such as that found in the Nashville/Davidson County Public Art: Location Study & Typology Recommendations, according to Cole, “also can help the general citizenry understand sources of public art funding . . . the private sector in various cities is contributing to art placed within the public realm.” As it stands right now, some city council members have even mocked the miniscule 1% guaranteed for a sculpture competition. Leslie Ghiz recently wrote that of the money guaranteed to the city, they would allocate “25 percent to operate the streetcar, 10 percent for hoods over Fort Washington Way, 14 percent to implement the City Facilities Master Plan, and my personal favorite: 1 percent for public sculptures.” Language like “my personal favorite” indicate a dangerous skepticism. Minds like hers are the ones that need to be changed if we want to acquire significant public funding for the arts and arts education.
Culturally significant landmarks such as the Gateway Arch in St. Louis and the Vietnam War Memorial in Washington, D.C., started off as calls to the public for an original design to celebrate our culture. Why should Cincinnati's call for gifted sculptors to celebrate the city be any different?
Sources:
http://www.signonsandiego.com/news/2010/apr/08/city-hosts-outdoor-sculpture-contest/
http://carolinaarts.com/wordpress/tag/4th-annual-national-outdoor-sculpture-competition-and-e/
http://cincinnati.com/blogs/letters/2010/10/08/i-stand-by-outdoor-sculpture-contest/
http://www.publicartprojectsofamerica.com/links1a.html
http://polkmuseumofart.org/exhibitions/florida-outdoor-sculpture-competition/
No comments:
Post a Comment