Abstract

In the absence of shared beliefs and even common interests, it should not be surprising that so much of the well-intentioned art acquired for public spaces has failed—failed as art and as art for a civic site. The conventional wisdom of simply choosing “the best artist” and then turning him or her loose to create a work within time and budget guidelines lost much credibility with the drama of Richard Serra’s Tilted Arc commission: the process of selection, erection, litigation, rejection, and removal of the sculpture from the Federal Building plaza in New York City. The new conventional wisdom? The jury, not the artist, was ultimately responsible. For Serra did precisely the kind of work for which he is respected worldwide but in a context and for a specific public whose requirements, in their view, were not met but even abrogated by what Serra had done so well: made a Serra.The issues raised by this particular controversy as well as by the very different response now accorded the once-controversial Vietnam Veterans Memorial by Maya Lin, together with firsthand frustration with the selection process for public commissions, were some of the specific reasons for organizing the day-long symposium held 16 September 1989 in First Chicago Center under the auspices of Sculpture Chicago, a biennial exhibition and educational series. John Hallmark Neff, director of the First National Bank of Chicago’s art program, is a former director of the Museum of Contemporary Art, Chicago. He is the author of Anselm Kiefer: Brüch und Einung , and he is currently working on a book on Max Neuhaus and a catalogue essay for the forthcoming Agnes Denes retrospective exhibition