Commentary: Arts in Politics and Vice Versa
Art is tied to politics. Some of the greatest works of art have messages tied to all kinds of political topics including social justice, economic disparity, economic policies and history, just to name very few topics.
Politics are not only present in visual art, where they perhaps are most evident, but also in musical art. Politics occur when an orchestra conductor or a philharmonic society that he or she serves decides what music gets programmed.
Politics occur at music venues that deny a type of genre to be performed, or at movie houses that won’t show certain film genres, or at museums that won’t display visual art forms that they don’t see fit.
These two things, art and politics, are inseparable. That’s the way it works and always will.
With regards to the controversy over a proposed Santa Ana mural
A grand-scale project, like painting a mural, obviously has to go through a public approval and process of some sort. This wouldn’t be just any mural, it would be the largest publicly visible one ever painted in Santa Ana. Do you know that the City of Los Angeles even has a Mural Ordinance? In fact, Los Angeles even has a Department of Cultural Affairs and literature concerning mural processes including issues, rights & responsibilities.
It turns out that Santa Ana’s Planning and Building Agency has guidelines for Public Art processes. These sections in Chapter 15 are crucial to the development of a public artwork, like a mural.
15.3 PUBLIC ART GUIDELINES
a. Public art associated with
commercial development is
encouraged. It is strongly
encouraged that art should invite
participation and interaction,
add local meaning, interpret the
community by revealing its culture
or history, and/or capture or
reinforce the unique character of
Already, a problem is presented with the recent painting of a mural at Plaza Santa Ana. Based on PBA Chapter 15.1, said mural does not “add local meaning, interpret the community by revealing its culture or history, and/or capture or reinforce the unique character of a place.”
Fairness dictates that the following question be asked of the desingers / owners: How does that design add local meaning, interpret the community by revealing its culture or history, and/or capture or reinforce the unique character of a place?
Also, regard section 15.3.d:
d. Art should be sited to complement
other features, such as a plaza or
architectural components that
acknowledge and respond to the
presence of the art and make the
art an integral part of site
So, again, in fairness, how does that piece complement the plaza? I’ve seen the Workshop for Community Art’s propsed mural sketch and it would not complement the one above the plaza. They don’t complement each other because the one proposed one tells a story and the other one just…?
And this gets me to another mural, one in an alley on the side of the Yost. That mural raises a very valid and serious question that no one has bothered to ask publicly. Again, how does that mural add local meaning, interpret the community by revealing its culture or history, and/or capture or reinforce the unique character of a place?
What is in place is a giant graffiti mural or “bomb” (what the one at Plaza Santa Ana is, in reality) with a giant dragon, which is a symbol of Asian culture. Is it because when people think Santa Ana, they think Asian dragons? Or is that what developers want people to think?
The “re-envisioning” and re-characterization of downtown Santa Ana has been studied and proposed before. Refer to this person’s master’s thesis on ripping out Mexican symbols in downtown Santa Ana called “Identity Design for Downtown Santa Ana.”
So now you see the politics behind this newfound “mural movement” in the downtown.
15.4 CITY REVIEW PROCESS
Developers should contact the City as
early as possible during the design
process to obtain information
regarding inclusion of artwork within a
development proposal and guidelines
for developing a project art plan,
selecting and working with artists and
15.5 WORKING WITH CONSULTANTS
Project developers are strongly
encouraged to work with an art
consultant in the selection of artists
and artwork. An art consultant can
provide expert assistance about artists
who work on public projects.
Budgets, site selection and contract
knowledge will assist the developer in
developing the Public Art Plan.
15.6 SELECTING ARTISTS
Artists selected should be generally
recognized as a professional of serious
intent. Their work should show strong
artistic excellence, the ability to
produce works appropriate to the site,
integration of artworks into the design
of the building or landscape. The
artwork should show recognition of
accessibility, durability, and an
awareness of the issues of security,
maintenance, and safety.
Based on these guidelines, and based on the fact that such a thing as a mural ordinance does exist in other places, I recommend that the City of Santa Ana enact a specific mural ordinance, with a body to oversee projects, and make recommendations.
The process should be opened to interested groups to bid on mural projects (what’s fair) to find the best-qualified muralists with a proven record as accomplished muralists and for them to provide that expertise expected in the Chapter 15 Public Art Guidelines.
Said ordinance would complement and strengthen existing guidelines.
Take for example that in Los Angeles, there’s even curriculum being developed for Judy Baca’s mural La gente del maíz (The People of the Corn). Including curriculum could be part of a new ordinance.
It just seems obvious that prior to painting such an important mural, that it has to be done right, with as much information synthesized from what can be learned from other mural movements. We don’t have to look that far, LA is a perfect model. In LA there’s the Social and Public Art Resource Center – SPARC. How do they work with public entities and with the LA mural ordinance? What can be learned from a community that has more of a history with public art in the form of murals? There is much to be learned from an organization involved with the production of 105 murals since 1988. Again, their work directly engages and involves the City of LA’s Department of Cultural Affairs.
Going forward it makes all the sense in the world to adopt and enact a process, one even guaranteeing conservancy.
What we have now is a rush job and a horse race, all the while disregarding processes and more careful studies of other mural projects. There’s an overwhelming amount of information about each mural out there, complete with the histories they contain and the processes involved in getting them done. They too synthesize public input.
Fairness dictates that neither group competing for a public wall, not WCA or UASA, should be awarded anything until there are mechanisms and systems in place in the form of a mural ordinance and an arts commission.
A project like this can only benefit from more thought put into it.