Whether a legally commissioned statue of a local leader in a town square or a piece of graffiti spray-painted guerrilla style on a storefront window, public art is meant to engage with an audience outside of the secluded walls of a museum or gallery. Taking on the form of murals, sculptures, integrated architectural and landscape architectural work, community art, experiential art, and even festivals and events, this artistic expression is aimed at a much more diverse and broad range of audiences than the niche audience normally encountered in the arts world.
The purpose of public art is to celebrate a city’s history and cultural heritage, foster pride in a neighborhood or region, and even serve as a source of economic development. Unlike works in a gallery or private collection that may be sold at auction or removed from a display space after a set number of years, public artworks are often permanently installed and designed to reflect the distinctive qualities of their surroundings and architecture.
As a result, these pieces can be experienced at many different times of day, in the sun or rain, and through the changing seasons. This is a major advantage of public art, which can have a far more lasting impact than a painting or sculpture in a private collection that is rarely seen or experienced.
Public art often becomes a part of a city’s identity, reflecting its values, struggles, and aspirations. This democratisation of culture is one of the key reasons why these artworks are so important. As urban planner and consultant Mitchell Reardon explains, “Public art takes the ideas and conversations that are happening in our communities and makes them visible to a broader cross section of people.”
This can take on an explicit political message, or be more subtle and engaging in ways that encourage a dialogue and shared experience without instigate conflict. Artists such as Yinka Shonibare and David Shrigley have become experts in the creation of these interactive and participatory public art installations, which often spark debate by challenging social and cultural norms. Examples include Shonibare’s Nelson’s Ship in a Bottle, a scale model of HMS Victory with sails made from African textile patterns and Shrigley’s Really Good, a 23-ft bronze sculpture of the hand in a thumbs up gesture, with the thumb greatly elongated.
Some artists spend their entire careers dedicated to the creation of public art. The Norwegian sculptor Gustav Vigeland spent over 20 years building his extensive Vigeland Sculpture Park, while street and graffiti artists like Banksy have become synonymous with public art. Public artworks also help to bridge the gap between the arts and a broader population, encouraging new generations to engage with the visual art form that has long been the domain of museums and galleries. It is no surprise that a city’s public art program is the fastest growing sector of the cultural industry, with new programs being developed in cities around the globe.