Happy Friday, and welcome to another edition of the public art news roundup.
It was a good week, publicity-wise, for an organization called Historic England. It’s been a bad decade-or-so for the art they aim to protect.
The government-sponsored group released a list this week of post-war public art pieces that have been lost, stolen or destroyed, as well as a call to action to the British public to help retrieve as many as possible. The list includes dozens of pieces, including some that are known to have been melted and sold for scrap metal at a fraction of the original value.
This story ripped through the culture pages of major outlets in the U.K. and abroad (art destruction tends to get a lot of play in the press). It was covered by the Guardian, the BBC, the Telegraph, Culture24, ArtFix Daily, and the New York Times, among others. It’s a success for Historic England – and potentially for an exhibit they’re presenting to accompany the art search – which will hopefully translate to some recovered artwork.
Anyone who has information about the works in Historic England’s list can reach them by email or by calling 0207 973 3295.
Now for the rest of the roundup:
A musician who’s sick of clubs has been performing 15-minute sets each month this year in various spaces around Seattle.
City Councillors in Saskatoon, Canada are waffling on their relatively new public art policy.
The U.K. Intellectual Property Office affirmed that new images of public domain art are still fair use.
Jerry Saltz grapples with great public art being created by “cultural forces I loathe” in Vulture. Also: “It turns out that I love art in public places, but only when the art is not picked in any public democratic way.”
“Whether people believe it or not, it was a hard thing for me to do. It is not lost on me that we painted over four African-American faces.”
Featured Image: Historic England poser for missing public art.