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How public is Alexis Smith's art? - Letters
Art in America, April, 2002 by Ann Gillen
To the Editors:
As a sculptor who has completed over 20 public, private and corporate commissions, I have a strong reaction to Michael Duncan's essay on Alexis Smith [A.i.A., Nov. '01].
Duncan points out that three of Smith's commissions "designed for public areas with extremely heavy pedestrian traffic ... can be fully grasped only from staircases and mezzanines." In other words, these "public" works for a convention center and a sports arena can't be seen when the buildings are in use, since the public is standing on the public art--i.e., the floor. This means that the art is visible only when the buildings are empty, populated by the cleaning crews, or not in use. So what is the point of these public commissions?
Duncan also quotes Smith as saying that "you won't be able to stand back and savor it [the basketball piece], so there will be an edge of frustration." That's a new function for public art--frustration. What happened to enhancement of life, delight, etc.? Is this expensive floor work a joke? Isn't it just gallery art let loose in public?
Ann Gillen New York
COPYRIGHT 2002 Brant Publications, Inc.
COPYRIGHT 2002 Gale Group
