I noted earlier in these “pages” that, while the new Brown Line station designs are a mite uneven in quality [but generally pretty good], they’re a major step forward for the transit experience. Some of them are actually quite fine.
What really impresses me most about the re-vamp are the major artworks installed at each Brown Line station. They have been funded by the percent-for-art provisions and administered through CTA’s Arts In Transit program, along with the city’s Department of Cultural Affairs [or whatever they’re calling it now that it’s been merged with the Office of Tourism]. And while there are highs and [medium] lows among the offerings, I feel comfortable in calling the art program an overall triumph.
My general hypothesis is that the best installations along the line are the ones that somehow make reference to their locations — and/or the general idea of transportation. [That said, one of my favorites doesn’t seem to have anything to do with either, but we’ll get to that.] Another overall observation: it’s no coincidence that many of the best in the collection are rendered in mosaic tile. Mostly because of its durability, nothing says rapid transit like tile.
I’ve wondered whether using tile so extensively was part of a plan, or a natural occurrence, given the tradition of transit tile. Or was it just random? I couldn’t get this question answered.
I have always had an unfortunate tendency to sound like a whiner, so I really don’t want to make too much of this, but it really was a major ordeal for me to get information about the program. I contacted the person credited as curator, who responded that I had to go through the Cultural Department’s media people, who in turn referred me to CTA media people, who didn’t respond to my queries until I complained to the Cultural Department people. When the CTA press rep finally sent me some materials, there were reams of information about the mechanics of selection — the detailed application process, public meetings and c., which really reflected how the political environment has to shape the artistic process, illustrating the insistence upon projecting an impression of transparency, inclusiveness, fairness, and diversity. But it had very little to offer on the art or design philosophy that motivated how The Powers That Be selected the artists or works, aside from the fact that each of the pieces should bear a relation to its surrounding neighborhood.
To get a broad perspective on the sweep of something like this, it helps to talk to the people who assembled it. But the media people wouldn’t allow me to talk to the organizers of the program — the CTA press rep would only answer my questions via email. I’m not sure why. I am primarily a cultural reporter, and I’m rarely looking to uncover a scandal or talk trash about the arts. Yet I consistently have hit roadblocks and stonewalls in my dealings with many city agencies. It sucks.
Some of the artists who made the pieces in the program have been more cooperative. So I’ve talked to them to get a sense of the meaning behind the artworks.
More to follow.
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visualculturist posted this
