When we hear the term public art, our minds may automatically conjure historic bronze statues gracing a city square or intricate murals adorning urban facades. However, public art encompasses much more than these forms. Generally defined as art that is exhibited in a publicly accessible space, the definition of public art also includes artworks that interpret the history of a place or people, and those that reflect contemporary social and environmental issues. From monumental modern sculptures dotted across cities to immersive digital new media projects, public art is a dynamic medium that transcends the walls of galleries and museums and brings culture directly into our shared spaces.
Artworks that are designed and executed for a public space can be found in many ways, from commissioned works to those shaped by community input and participation. Most often, a public art project is the result of a collaborative process that involves artists, architects, designers, planners and project managers alongside municipal agencies, civic leaders, and approval and funding committees. This communal arrangement puts a degree of pressure on the artist to please a multitude of audiences that they wouldn’t encounter in a gallery context.
The vast majority of public art projects are commissioned and managed by a municipality. This practice ensures that the artistic intention of a work is shaped and reinforced by the cultural context in which it is displayed. In turn, it fosters a sense of ownership and engagement with the arts for local residents and visitors alike. The commissioning process is also a great way for municipalities to showcase their commitment to supporting the arts.
As such, public art is a powerful tool that serves as an egalitarian bridge, allowing artists to shape and hear the voices of communities outside of the confines of the gallery space. From the towering sculptural monuments that grace our city squares to the immersive murals that animate urban landscapes, the work of artists in public space reveals a vibrant portrait of collective creativity and shared experience.
Public art is a vital element in the development and maintenance of a healthy and vibrant community, serving to increase pride in a city and spark joy in day-to-day life. It can encourage a sense of shared belonging, and research has shown that it can combat feelings of anxiety and isolation in a community.
The Fourth Plinth programme has hosted a diverse range of temporary public artworks, including Yinka Shonibare’s Nelson’s Ship in a Bottle, a scale replica of HMS Victory with sails patterned on African textile patterns and David Shrigley’s Really Good, a 23-ft bronze sculpture of a thumbs up gesture greatly elongated. Each work stimulates debate and discussion, reflects the changing nature of our society and culture, and challenges our perceptions of everyday objects. It is this ability to engage with a wide audience that has helped the Fourth Plinth programme become such a celebrated and respected event in London’s cultural calendar.