From the Artist’s point of View

from Commissioning Art in the Publics Sphere by Helen Carey

• Introduction & about the author
• From the Commissioners' viewpoint
• From the Artist’s point of View
• From the Publics’ point of view

If reaching a wide audience is an aim of Artists for their work, a work of art in the Publics Sphere is capable of delivering the greatest fulfilment to this, over the longest time and with the promise of having meaning in many people’s daily lives. Inspiring affection, controversy and dislike among many other emotions, the Work of Art in the Publics Sphere must also avoid accidental offence, be robust and observe public health and safety regulations to endure.

Often contradictory in wishing to excite and yet be above controversy, the Publics Sphere Art Work has the added issue of being of the moment of commission and yet having to endure over years, of being classic. The notion of risk in subject and in materials is attractive, and yet the potential consequences can make the commission unpopular and disappointing. This is at the heart of the truth for the Artist around Art in the Publics Sphere. The answer requires that the Artist stay true to what makes them comfortable, and engage fully with the process.

It is worth noting here that The Angel of the North by Anthony Gormley in Gateshead was highly unpopular at its installation, and has since gone on to become beloved. The Initial Brief reflects the priorities of the Commission for the Artists developing a proposal and this should be the only point at which the direction of Artist can be controlled by the Commissioner. It is therefore a document which should take time in interpretation and even if the final work moves away from the Initial Brief, its heart should appear in the finished work. For the Artist, it is important that the Brief communicate the key parameters, but ideally there should be space for the Artist to input into the Final Brief.