MSP Impacts Public Art
Sarah Douglas from the The Art Newspaper shares the chronological progression and popularity of outdoor art in her article The Outsiders.
The Art Newspaper
“The Outsiders,” by Sarah Douglas
One of those is Madison Square Park, in Midtown, an example of how edgy public art has contributed to urban renewal. Debbie Landau, head of the conservancy, which runs the public art programme, has been with the park since 1996. Its first art project was Tony Oursler’s The Influence Machine in 2000 in collaboration with the Public Art Fund; a $1m grant from Target stores brought more art in 2001. In 2002, the conservancy became a registered non-profit with part or its mission to bring in art projects. Again, the lion’s share of its funding comes from private sources.
The conservancy’s first major project was an installation by Mark di Suvero in 2004. By 2007, the park was undertaking its current four projects a year. In 2010, Antony Gromley’s Event Horizon figures populated the ground and surrounding rooftops; a huge sculpture of a head by Jaume Plensa dominated the park over the summer. Currently installed are figurative works by Alison Saar.
Q and A with Alison Saar in Whitewall Magazine
Twyla Shelmire from Whitewall Magazine sits down with Mad. Sq. Art’s latest artist Alison Saar to discuss her newest installation “Feallan and Fallow”.
“Alison Saar: Feallan and Fallow” by Twyla Shelmire
October 17, 2011
Alison Saar’s installation, “Feallan and Fallow” may be seen daily in Madison Square Park now through December 31. Four new works, commissioned by the Mad. Sq. Art Program are on display along with two of Saar’s earlier sculptures, “Treesouls” (1994). The new commission represents the four seasons as women evolving through different stages of their life – spring as an adolescent girl, summer as a pregnant woman, fall as a woman in harvest, and winter as a woman resting and renewing herself. “Feallan and Fallow” was inspired by the ancient Greek myth of Persephone, a young goddess abducted by Hades, God of the Underworld. This tale that removes daughter from mother consequently creates the cycle of seasons. Saar answered a few of our questions this fall about her installation, unearthing the personal experience behind the works as well as intrigue of the public realm.