Public Sculpture in the context of American democracy2.
- Public sculpture attempts to demystify art.
- Public sculpture is less about self-expression and the myth of the maker and more about its civicness. It is not based on a philosophy which seeks to separate itself from the ‘everydayness’ of everyday life.
- Public sculpture is a search for a cultural history which calls for structural unity between the object and its social and spatial setting. It should be open, available, useful and common.
- Public sculpture opens up a perspective through which we may comprehend the social construction of art.
- Public sculpture attempts to fill the gap that comes about between art and public to make art public and artists citizens again.
- Generally speaking public sculpture is not a particular style or idealogy. It is through the action in concrete situations that public sculpture will become a certain character.
- Public sculpture has some kind of social function. It has moved from large scale, outdoor, site-specific sculpture into sculpture with social content. In the process it has annexed a new territory for sculpture that extends the field for social experience.
- Public sculpture is not artistic creation alone but rather social and cultural productions based upon concrete needs.
- Public sculpture is a cooperative production. There are others besides the artist who are responsible for the work. To give all the credit to the individual artist is misleading and untrue.
- The ethical dimension of art is mostly gone and only in newly formed relationships with non-art audiences may the ethical dimension come back to art.
- Public sculpture depends on some interplay with the public based on some shared assumptions.
- Public sculpture rejects the idea of the universality of art.
David Harding, What Have We Learned About Public Art?, Jan 2008