Our intention is to discuss various ways that artists build relationships with the city of Providence and its citizens through works of art whether bought by patrons, commissioned by organizations or installed by the artists themselves.
As a case study, we will consider the Steel Yard's recent experience with commissioning artwork for its Urban Furniture line (one of a kind, custom- produced street amenities designed and built by RI artists). In this scenario, our client took issue with the content of one artist's set of 4 unique garbage cans. The Steel Yard was obligated to uphold the client's right to reject the product but also felt a strong responsibility to the artist we hired. The client maintained that the set of cans was not the product they had contracted for and that certain elements of the design content were not representative of their community. The artist saw the rejection of her work as censorship. After extensive conversations and negotiations, the Steel Yard upheld the client's right to reject the product while protecting the artist by choosing to pull the set of cans from the larger order. This experience raised new questions about the role of public art on our city streets, individual artists' ability to speak for communities, and the ultimate location of ownership in work done for hire that has an ultimate public purpose. It also served as a reminder of the power of artistic expression in general. In a community where artists are often vocal opponents of sub-standard urban conditions and various political, social, and economic inequalities how does this unique relationship between public and personal expression find a voice that is fair and balanced?