Public Art: from commissioned works to free expression

Most people will associate public art with commissioned works aimed at commemorating a specific event or person or aimed at beautifying a certain area. Especially in the 19^th century beautification was an important reason for the erection of statues, the building of fountains and the inclusion of plaques, sculpture and tile panels in buildings.

Sculpture in public places is always commissioned by the landowner or by a public body that is then allowed to place the work in a specific location. Most sculpture in Europe is figurative -that means it looks like what it is supposed to represent. Public sculpture can have varying aims: it can represent an historic craft like basket weaving said to be the hall mark of a town (left), it can represent a historic figure as a reflection of national identity (Nelson Column on the right), or it can convey a sense of place or an emotion (these people talking outside of a hospital -middle).

In contrast some public art can appear in the public realm without patronage. Such spontaneous art is often not seen as true art. But why cant a drawing on the pavement (left) count as artistic expression, or a stag-tag made with the use of a cellophane stencil and a can of spray paint (right). Most graffiti tags are less subtle and are colourful manifestations on any wall space available, like this large tag on an underpass for cyclists (middle).

Most graffiti-art has little artistic merit, but some are true works of art in their own right. A blue bird and a small child drawing a heart on a wall in Camden (middle) is clearly the result of two artist engaging with each other and constructing a narrative in images. The blue budgie perched on a melon (left) I spotted on a wall in Frankfurt. In some towns and cities the local council decides to employ graffiti artists to enhance the appearance of underpasses and walking tunnels. Here a colourful example from Heerlen.