"As Lexington awakens to the practical challenges of preparing for the Alltech FEI World Equestrian Games 2010, ideas are flowing; people are talking, asking questions, and realizing the many things that need some attention if we are to present our best image to the world. Business Lexington has taken a particular interest in the issue of public art. Over the last few months we've gathered and published some of your ideas, considered some of the key players and their opinions, and admittedly ruffled a few feathers — all in an effort to increase awareness both within the public and private sectors of our community, because, by its very nature, public art is collective.
Mayor-elect Jim Newberry was in Aachen, Germany, this past summer for the 2006 Games. "I was impressed by the extent to which they utilized public art," he said. "The mayor, with whom I spoke at length, viewed the Games as equal part sport and culture."
"I like that philosophy and hope that we can do the same so that the world can see not only the Games in Lexington but something about our local culture," stated Newberry.
Vice Mayor-elect Jim Gray agrees that ''public art should serve as a beacon light signaling to everyone that this community is engaged and forward-thinking, that we are awake, alert, and aware." In addition, Gray understands that we should not only be looking to the next four years, but to the next 40.
He is keenly aware of the role that public art plays in the development of an active urban environment, but cautions that the development of such an environment itself is a slow process. "We need to be patient with the process, although it's important to have a sense of where it's going — there is no doubt that we should start with the end in mind," stated Gray.
When asked if he knew of the recent groundswell of interest in public art and the numerous ideas that are brewing in preparation for the Games, Gray commented, "We should engage those ideas that have the greatest potential to transform this city into a turbo-charged urban environment."
But how, where and when can we engage those ideas? What procedures are set in place for us to examine our ideas and select those with transformative potential? Where can we go to voice our ideas and hear feedback, to listen to what others are proposing and have the chance to respond?
Public dialogue
Jim Clark, president and CEO of LexArts asked this same question in 2003, when he initiated Public Art 101, a two-day forum that was well attended, but did not result in any visible plan of action. As Erika Strecker recalled, "The open dialogue with national public art experts and leaders from the local arts community generated quite a bit of energy; a good deal of interest was drummed up during that forum, but that enthusiasm was difficult to keep alive."
Today, interest and enthusiasm are growing exponentially as we realize the cultural and economic impact of being chosen to represent our nation in hosting the World Equestrian Games and we are struggling to find our collective voice.
When asked if public art was being discussed on a regular basis at regular meetings of our local arts organizations, Clark responded by saying, "Not really, but there is growing interest."
"Currently, there are a lot of individuals putting forward a variety of ideas, but what is really needed is some form of organizational structure that can move some ideas from concept to reality. Once this happens, a public process should be developed that allows many ideas to flow into the system. That doesn't mean they are implemented, but at least it would provide an organized way to assess the value and need for such projects/programs," stated Clark.
"Public education is fundamental to that process. This educational effort could be as simple as a few public art forums to expose key participants, decision-makers and interested citizens as to the range of work being created throughout the United States and the world," said Clark.
When asked if LexArts will host another public forum, Clark responded, "Yes, we are looking at sometime in January of 2007, and we will, again, bring in outside public art experts."
Organizational structure
What then has been done in the past three years to build the necessary infrastructure to which Clark refers?
On August 26, 2004, ordinance 209-2004 passed the Urban County Council establishing an Urban County Arts Review Board (UCARB). The members of this committee are appointed by the mayor and at this point include: Garry Bibbs, sculptor; Brent Bruner, AIA; Jim Clark, president of LexArts; Becky Estep, mayor's office representative; Wallis Miller, University of Kentucky College of Design; Charlie Milward, licensed civil engineer; Federico Pizzurro, painter; Billy Van Pelt, licensed landscape architect; Ben Withers, art historian; and Nancy Wolsk, Transylvania University professor and former gallery director.
By-laws state that the purpose of this board is threefold: to encourage art in public spaces, expand the community's collection of and experience with the visual arts; and to review the design, installation and conservation of permanent visual artwork. According to Vice Chair Billy Van Pelt, "the committee is strictly meant to review and approve." To date, two projects have received reviews; one has been approved.
Could this entity be charged with developing a strategic plan for the installation of public art in public spaces with an eye on 2010? In April of 2005, Louisville Mayor Abramson reestablished a Mayor's Committee for Public Art. According to Kristin Booker, a landscape architect with Metro Louisville and member of the committee, "We are currently working to develop a strategic plan for art in public spaces that will culminate in 2010; on December 4, we will bring in Constance Alexander, who will facilitate our strategic planning session."
Our current mayoral representative, Becky Estep, serves not only on UCARB but also the Board of Directors for LexArts. She acknowledges that everyone needs to come together and submit ideas so that our community can present a strong showing to the world during the World Equestrian Games. She agrees that a government body could facilitate that process and help to bring many public art proposals to fruition.
When asked if she thought UCARB could be instrumental in formulating a strategic plan for the installation of public art prior to 2010, Estep said, "Yes, everyone is on the same page. We want the same things for the city, but we need a clear strategy to move forward."
Government involvement at this level will help to legitimize our efforts, particularly if we can secure annual funding at some level. However, we cannot forget that public art depends on an insatiable, ever-changing, multifaceted, yet extremely resourceful entity — the public, which includes the private sector.
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