Public Funding and Post-Modern Art in Six Works

The concept of art being publicly funded has existed practically since art itself. Art is relied on to convey a message, soften a public image, or in some cases used to inspire their communities. Religious institutions, nobles, royalty, and now governments have all used art in a multitude of ways. The United States government has been a patron of the arts almost since its founding. Capitol buildings, paintings, and monuments were commissioned in the early days and now there is a far more structured patronage. In fact, at least half of a percent of a federally funded building’s budget is allotted for original art (Mekouar). The U.S. General Services Administration (known as GSA) oversees federal buildings. It also maintains records and preserves public access to hundreds of thousands of paintings, prints, sculptures, and other architectural and environmental works.

There is a massive collection of publicly funded works through the centuries, but six of these works in particular really captured the imagination. All are from the Post-Modern era and were projects through the GSA. They are Justice and Prairie by Richard Haas, Iowa Autumn by Ellen Wagener, Sasabe by Susan Furini, The Protector by Carmen Quinto-Plunkett, Rockman by Tom Otterness, and Milagros Imigrando/Migrating Miracles by Alison Sky.

 

Haas, Richard. Justice and the Prairie. 1994. Robert J. Dole Federal Building & Courthouse. Kansas City, KS.

Richard Haas’s Justice and the Prairie is an acrylic on canvas. The piece currently resides in the Robert J. Dole Federal Building & Courthouse in Kansas City, KS. The two murals were painted in 1994 onsite at the courthouse and commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Haas). 

This is a complicated set of murals giving tribute to the diverse makeup of the people of Kansas and the judicial system. One mural represents a depiction of Kansas's history and its cultural makeup. There are several inscriptions including quotes from the Constitution of Five Indian Nations and from U.S. Supreme Court Justice David J. Brewer of Kansas.

The use of tone here shows a lighter sky and a darker foreground that draws the eye to the elements of historical significance such as a diverse cultural and ethnic background. The artist uses color to duplicate these themes and almost highlight them in the foreground. It almost makes it seem as if you’re viewing the history in real time complete with closed captioning. The texturing here in the foreground softens each element and is intended to calm the viewer.  

I really enjoy this piece in the setting but perhaps not in my home. The subject matter is perfectly relevant for a courtroom in Kansas and it helps to educate about history and inclusion. However, this wouldn’t be something you would normally find outside of that setting.  

Wagener, Ellen. Iowa Autumn. 2012. U.S. Courthouse. Cedar Rapids, IA.

Ellen Wagener’s Iowa Autumn is a pastel on paper. The piece currently resides in the U.S. Courthouse in Cedar Rapids, IA. The piece was one of four pastel drawings depicting the seasons and created in 2012 for the U.S. Courthouse. They were commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Wagener).

As mentioned, this is one of four drawings depicting the changing seasons. This one depicts autumn or fall. The intention of the four drawings was to get the viewer to appreciate the year-round natural beauty of Iowa. An ulterior motive would be to calm the viewer which may be especially useful in a courthouse setting.

The use of tone here draws your eye away from the darker borders of the sky and ground towards the center where a sun is just hidden by some clouds that appear ready to part. The color of the field is also depicting the season as the light and dark browns indicate the field is ready to harvest. You can almost imagine the sun on your face and the feeling of the wheat and grass under your fingertips as you walk through the field.

I really enjoy this work. As I’ve mentioned before, I grew up in rural America where this sort of scene is commonplace. I almost find myself looking for deer in the distant tree line. This piece is equally at home in either my home or in an Iowa Courthouse.

Furini, Susan. Sasabe. 1998. Border Station Main Building. Sasabe, AZ.

Susan Furini’s Sasabe is a sculpture done in glazed ceramic tiles. The piece currently resides at the Border Station Main Building in Sasabe, AZ. The sculpture was completed onsite in 1998 at the Border Station and was commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Furini). 

This work represents a melding of images that pay tribute to the farming community as a center for trade. There are also scenes from a local vineyard and a nearby wildlife sanctuary. You can see a 3-dimensional depiction of birds, crops, grapevines, cattle, fields, and a river all in a serene setting.

The use of earthy colors here is calming to the viewer. The artist uses a line of a stone road to draw all the different elements of the work together. The viewer can also almost feel the feathers of the individual birds, the point of the cattle’s horns, or the softness of the grape leaves.    

I find this piece very enjoyable. The artist captured a perfect representation of the setting it is in. That said, I probably wouldn’t want this in my home at the current size. It is far too large to make my wall at nearly 12x6 feet and nearly 8 inches deep (Furini). A smaller version would make an excellent outdoor art piece.

Quinto-Plunkett, Carmen. The Protector. 1980. Dalton Cache Border Station. Haines, AK.

Carmen Quinto-Plunkett’s The Protector is a sculpture in wood, abalone shell, stainless steel, and copper. The piece currently resides at the Dalton Cache Border Station in Haines, AK. The sculpture was one of three. It was completed onsite in 1980 at the Border Station and was commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Quinto-Plunkett). 

As mentioned previously, this is one of three works that depict stories based on Tlingit legend. The legend goes that the Thunderbird is the protector of the Tlingit people. Here we see it wrap its wings around two people in what appears to be a protective embrace or possibly flying them to safety.

The artist uses traditional colors of black, red, and green here to show strength. The figure of Protector dominates the space as it spreads its wings to envelope the two figures. The artist uses form here to show the side and front profiles of two natives as the massive bird protects them from some unseen danger.

I really like this piece as well. The setting and location make the cultural relevance all the more enjoyable. That said, I may not display such a piece in my home.   

Otterness, Tom. Rockman. 1999. Diana E. Murphy United States Courthouse. Minneapolis, MN.  

Tom Otterness’s Rockman is a series of sculptures done in bronze. The piece currently resides at the Diana E. Murphy United States Courthouse in Minneapolis, MN. The sculptures were completed in 1999 at the Courthouse and was commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Otterness). 

Here we see, for lack of a better description, rocks pursuing tasks most people would find pretty typical of their day. Lounging, yardwork, taking pictures, and holding hands are among the many activities this work depicts. Some appear to have a deeper meaning and the artist is known to incorporate popular imagery with historical and mythological references.

The smooth shapes of the stone give the viewer a sense of peace. They are reminiscent of the pebbles you’d find in a riverbed. The artist masters the use of form to take the viewer to whatever whimsical world these rock creatures belong to. Some are smiling, some appear to be holding up the massive structure, more still appear to be cleaning a crime scene, while others pull their friends from the massive rock structure. Rock snakes and frogs dot the surroundings. The smooth surfaces are calming and almost beg you to touch them. Indeed, after many years of just such behavior, the rocks are almost polished in places.

I love this piece. I’ve never seen it in person, but the idea of tiny figures running around doing everyday tasks is delightful and the subject matter being something as simple as rocks makes it even more endearing. Although not at this size, I also love the idea of tiny figures running around my home. My wife may disagree.

Sky, Alison. Milagros Imigrando/Migrating Miracles. 1998. Kika de la Garza United States Border Station. Pharr, TX.

Alison Sky’s Milagros Imigrando/Migrating Miracles is a sculpture in laser-cut aluminum and glass. The work currently resides at the Kika de la Garza United States Border Station in Pharr, TX. The sculpture was completed in 1998 at the Border Station and was commissioned through the Art in Architecture Program Fine Arts Collection U.S. General Services Administration (Sky).   

Here the artist shows us some butterflies that appear to be flying over the U.S.–Mexico border. Monarch butterflies are known to migrate annually between the United States and Mexico and the artist here is trying to exhibit that interdependence.

The bright colors against the pale stone backdrop attract the viewer's attention. The artist uses shape to incorporate human-like eyes into the monarch wings. Are they looking at us, the viewer, or towards the sky beyond the border? The delicate metalwork used in the wings makes the viewer almost feel the ridges and bumps. All of this combined gives the grounds underneath a slight light show as the sun moves across the sky throughout the day.

I love the imagery here and the meaning behind it. In its location and setting, it is a strong reminder of the unique relationship between two countries at their border. I would not likely have a sculpture like this at my home. Butterflies in general may look great in a garden or outdoors.

 

Works Cited:

Furini, Susan. Sasabe. 1998, https://art.gsa.gov/artworks/20946/sasabe?ctx=18352fe6856142badf97623952359c2bd629918e&idx=254. Accessed: 29 July 2024.

Haas, Richard. Justice and the Prairie. 1994, https://art.gsa.gov/artworks/21006/justice-and-the-prairie?ctx=b49b5078543620155337f794105c7990f82615bc&idx=328#. Accessed: 29 July 2024.

Mekouar, Dora. “US Government Pays How Much for Art in Federal Buildings?” Voice of America, 9 Sept. 2023, https://www.voanews.com/a/us-government-pays-how-much-for-art-in-federal-buildings-/7259758.html.Accessed 29 July 2024.

Otterness, Tom. Rockman. 1999, https://art.gsa.gov/artworks/20348/rockman#. Accessed: 29 July 2024.

Quinto-Plunkett, Carmen. The Protector. 1980, https://art.gsa.gov/artworks/20860/the-protector. Accessed: 29 July 2024.

Sky, Alison. Milagros Imigrando/Migrating Miracles. 1998, https://art.gsa.gov/artworks/21330/milagros-imigrandomigrating-miracles?ctx=18352fe6856142badf97623952359c2bd629918e&idx=250#. Accessed: 29 July 2024.

Wagener, Ellen. Iowa Autumn. 2012, https://art.gsa.gov/artworks/26501/iowa-autumn-clinton-county-iowa?ctx=34dfcdfb90b82f10c1da2025d1b3f328e9335772&idx=77. Accessed: 29 July 2024.

 

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