Once more, with feeling: public art failure in Olympia

Eleanor Pachaud told the sorry tale of good art coming to a bad end in Washington State’s capital, here. (Detail of artwork on the left.)

In brief, the city council rejected Dan Webb’s proposal because that august body found it to be “too ugly.” (Good Seattle Times’ story here, including interview with the artist.)

What happened? Only Olympian reporter Matt Batcheldor tried to track it, here.

The selection process for the City Hall artwork goes back at least to May, when a citizens advisory group discussed the subject. A jury was empaneled in October and later recommended the artwork. The Olympia Arts Commission, a volunteer citizen advisory group, unanimously recommended approving Webb’s proposal.

In other words, boilerplate public art process. But because Olympia a tiny town with tender, ignorant feelings, boilerplate is not enough.

An Olympian editorial fully supported saying no to Webb.

Olympia has had numerous successful public art projects. Who doesn’t like the kissing statue at Percival Landing or the orca or
motherhood statue on the boardwalk? Who could possibly criticize the
stunning otter family sculpture by Tony Angell in the Olympia Library?
And the artwork on the new Fourth Avenue bridge is simply outstanding.
The benches in downtown Olympia are artistic expressions and some might
consider the Heritage Park fountain interactive art.

The point is, Olympia has gotten it right in a long list of public art projects.
It’s unfortunate, then, that the city stumbled so badly on the selection of artwork for the new City Hall.
The proposed bronze bubbles by Seattle artist Dan Webb were a complete bust.

Whoever wrote the above is an excellent candidate for art reeducation camp. Yes to bronze orcas and otters, no to Webb? What was missing in Olympia’s failed process is an art advocate. Most of the 160 people who objected to Webb were angry about the $180,000 price tag, not his work.

Whose job was it to sell the One Percent for Arts concept in Olympia? Whose job was it to take Webb’s model to schools, community centers, retirement homes and shopping centers? Who understood Webb’s work well enough to sell its ideas and material form? If Olympia isn’t going to provide that person, it needs to stop thinking it can commission substantial contemporary art. Go for a 3-D Hallmark card and call it a day.

Webb’s work sells itself to a broad, undifferentiated audience, but only over time, which it didn’t get.

The city government now joins the state in disgraceful treatment of artists. Remember the Olympia Mural 3: Michael Spafford, Alden Mason and Jacob Lawrence.

Webb on why he loves public art, here.