As evidenced by prehistoric cave paintings, we have been using art as a way of recordkeeping and communicating collective ideas since the beginning of time. Throughout history, art has largely been situated in public spaces, to be consumed by all. During many periods of history, it was a tool commissioned by wealthy and powerful citizens to promote whatever moral, religious or political teachings they deemed important, as seen in the religious paintings of the renaissance period or the ego-driven statues of the Roman empire.
During development of modern capitalism — which emphasizes monetary values and ambition — art experiences became more compartmentalized. The art world became dominated by gallerists and critics, keeping the majority of art experiences contained within the four walls of select galleries and museums, exclusive to those with access to the resources required to frequent such establishments.
In response to this, muralism and public art began gaining popularity again in Mexico in the 1920s. Instead of artists being used as laborers to illustrate the conquests and desires of wealthy patrons (as they were during the renaissance), Roman Empire artists became messengers, driving the collective consciousness toward social solidarity. In their “Brief History of Murals”, the Youth Mural Program states that “Mexican mural art inspired the creation of many other similar movements around the world, the biggest being the Chicano art movement in the 1960s.”
The mural movement in Mexico, though socially driven, was also funded by a wealthy revolutionary government. In contrast, the growing Chicano art movement — along with the mural art revived by the Civil rights movement in the United States in the 1960s — was being created BY the people in the communities where the art was placed FOR the people in those communities. Groups like the Organization for Black American Culture (OBAC) created a wave of powerful murals and public art that inspired, invigorated, and validated communities who were oppressed and unrepresented.
From Teaching for Change:
“These new murals were located in the barrios and ghettos of the inner cities, where oppressed people lived. They served as an inspiration for struggle, a way of reclaiming a cultural heritage, or even as a means of developing self-pride. Perhaps most significantly, these murals were not the expression of an individual vision. Artists encouraged local residents to join them in discussing the content, and often, in doing the actual painting.
For the first time, techniques were developed that would allow non-artists working with a professional to design and paint their own murals. This element of community participation, the placement of murals on exterior walls in the community itself, and the philosophy of community input, that is, the right of a community to decide on what kind of art it wants, characterized the new muralism.”
A recent data analysis of major United States Art Museums and galleries showed that 87 percent of collections were by male artists and 85 percent were by white artists. Public art is a way to combat the exclusivity and inequity found in our modern day art consumption. Public art, and murals in particular, are an avenue for activism, placemaking, and increasing accessibility to the arts. Studies indicate that communities with access to public art tend to show improved mental health outcomes, social cohesion, and perceptions of safety, along with economic benefits.
In Washington State, the Art In Public Places Program is working toward greater equity through government funded projects, of which over 50 percent are by self-identified artists of color. To build a more equitable community here in the Tri-Cities, we would be wise to look toward public art as a way of building connections, and increasing representation by reflecting the stories, cultures, and people in our community. (https://www.historylink.org/File/22973)
Do you know where all the public art in the Tri lives? Are you wondering how to support community leaders and artists working to advance equitable public art in our community?
A few ways to get started:
Tour the public art in our area!
Check out Kennewick's interactive art map: http://bit.ly/3TrtCI8. Our state’s robust public art collection can also be searched by county here: arts.wa.gov/county-collections. Listed in the state’s collection are 73 pieces that can be found in Franklin County and 78 in Benton County. Additionally, we have a lot of locally funded and executed public art to enjoy. Check out the Uptown Shopping Center Alley for incredible Murals, and the Pasco Farmers Market for beautiful public pieces.
Public art near Pasco Farmers Market. Photos by Ashleigh Rogers.
Apply to calls for public art and support local projects!
Currently Kennewick invites artists to submit proposals for art to wrap traffic utility boxes: https://bit.ly/3ZkTAkp
And the City of Pasco has created a public mural program called Paint Pasco Mural Reimbursement Program where local business and property owners can apply for financial assistance to have murals commissioned on their buildings.
Build or visit a Free Little Art Gallery.
From Free Little Art Galleries:
"A Free Little Art Gallery — “FLAG” for short — is like a Little Free Library, but for small artworks instead of books. If you see something in the gallery you like, take it home. Or create something you want to share, and leave it for someone else to take away and love.
An important difference between Little Free Libraries and FLAGs is that people who put a book into a Little Free Library, generally didn’t write the book themselves. FLAGs are about encouraging people to create art.
The Free Little Art Gallery movement is about the idea that everyone can do art, and anyone can own art. You don’t need a degree or money, just a desire to create something of beauty or meaning or to make people laugh. There are a wonderful variety of things in these galleries — some from professional artists, some from talented amateurs, some from folks who are probably very young.
Just like you don’t have to be a professional to go out dancing, you don’t have to be a professional to make art. People do it to please themselves and to please others." https://freelittleartgalleries.art/
Here is one to start with on the north side of Willis Street, in Richland: https://www.instagram.com/freelittleartgallery_willis/
Photos from freelittleartgallery_willis on Instagram.
Sources:
https://www.civilrightsteaching.org/resource/murals-redefining-culture-reclaiming-identity
https://www.youthmurals.org/muralhistory
https://www.civilrightsteaching.org/resource/murals-redefining-culture-reclaiming-identity
https://repository.gheli.harvard.edu/repository/13099
https://www.historylink.org/File/22973
https://www.pasco-wa.gov/1593/Paint-Pasco-Mural-Program
https://freelittleartgalleries.art
Ashleigh Rogers is an artist, art instructor, and facilitator in Tri-Cities, Washington. Her work explores the themes of connection and intergenerational stories through experimentation in painting, photography, installation, and sculpture. Ashleigh is passionately dedicated to facilitating accessible arts programming in her community.
Find her on Facebook: fb.com/AshleighRogersArt or Instagram: ashleigh.a.rogers
