“Public art is and will probably always be contested territory because it reflects the real tensions embedded in our civic life. Which may explain why even old-fashioned monuments have become problematic.”
— Eleanor Heartney
Public art is not a singular art “form.” Its size can be huge or small. It can tower fifty feet high or call attention to the paving beneath your feet. Its shape can be abstract or realistic (or both), and it may be cast, carved, built, assembled, or painted. It can be site-specific or stand in contrast to its surroundings. What distinguishes public art is the unique association of how it is made, where it is, and what it means. Public art can express community values, enhance our environment, transform a landscape, heighten our awareness, or question our assumptions. Public art is a reflection of how we see the world—the artist’s response to our time and place.
In a diverse society, all art cannot appeal to all people, nor should it be expected to do so. To some degree, every public art project is an interactive process involving artists, architects, design professionals, community residents, civic leaders, politicians, approval agencies, funding agencies, and construction teams.
As our society and its modes of expression evolve, so will our definitions of public art. Materials and methods change to reflect our contemporary culture.
Public art is a part of our public history, part of our evolving culture and our collective memory.
Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992).
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