Founded | 1971 |
---|---|
Founder | William Walker and John Pitman Weber |
Type | Independent public art organization |
Location |
|
Products | public art in a variety of media |
Services | Design, organization, education |
Method | Produce public art |
Key people | Chantal Healey, Executive Director |
Website | chicagopublicartgroup |
Formerly called | Chicago Mural Group |
Chicago Public Art Group (originally, Chicago Mural Group) is a non profit cultural organization in Chicago that organizes and promotes creation of community public art. The Group was founded in 1971 and has been involved in the creation of hundreds of artworks in and around the city. CPAG supports the production of public murals, mosaics, sculptures and space designs in collaboration with community participants. CPAG also educates artists and the public about the history and possibilities of collaborative public art. Several of its works have been large bricolage mosaics in city underpasses.
Founded in 1971, the Chicago Public Art Group began as a cooperative of artists to enhance Chicago communities through the creation of public murals. Concerned with societal relationships to art, the group wanted to establish communication and working creative partnerships between artists and city residents. Muralists William Walker and John Pitman Weber were among the co-founders of what was then called the Chicago Muralists Group. [1] [2] [3] From the beginning, a focus of the cooperative was turning some of the most neglected of urban spaces into artistic canvasses. [4] It was influenced by the past work of individual artists working in the city. [5] The group-created Fabric of our Lives, by Miriam Socoloff and Cynthia Weiss in 1980, lays claim to being the first community-based mosaic in the United States, according to executive director emeritus Jon Pounds. [6]
There are hundreds of significant artworks associated with the Group in various public places, mostly within the City of Chicago. [6] [7] These include murals, mosaics, sculptures, and space or landscape designs. [8] Most projects have included community organizations, residents, or schools in the creation of these art pieces. Some public artworks may cost as much as $100,000 and more to create. [9] [10] These include large mosaics placed on the walls of highway underpasses, or murals on buildings or train viaducts. The artworks are often community, local history, or environment themed.
The large glass mosaic "Aqua Interlude & Reflection" (2011), in a pedestrian underpass, was created with the help of a youth project and explores light and water. The large tile and glass mosaic "Indian Land Dancing" (2009) in a highway underpass, was created with the help of the American Indian Center and illustrates local Native American history and modern experience. [10] [11] Another large underpass mural and mosaic, "Growing" (2008) is based around the theme of local community and growth. [1]
Several of these artworks, which may be 10 to 12 feet high, and 120 to 160 feet long, [12] have employed a type of bricolage technique. [13] Reporter Geoffery Bear described this as the "technique of taking broken pieces of ceramic tile, and other three dimensional objects, pieces of mirror, actual photographs, and putting it all together." [14] According to Sue-Lyn Erbeck and Marty Bach, this technique can be "loose and improvisational" and describe a representative process involving: "1. Photos ... transferred to acetate, projected onto the wall and traced with acrylic paint. 2. Broken pieces of mirror applied to the outline. 3. Loose elements, such as the clouds and words, attached. 4. Buckets of various broken elements such as ceramic tiles, china and porcelain, filled in around outlines. 5. Spaces between the tiles grouted and painted. 6. Paintings . . . attached to the wall." [15]
Chicago Public Art Group's mission includes designing public art, enhancing individual artistic skills and expression, educating professional artists concerning issues of public art, and building community appreciation with respect to the benefits of public art creation. [16] The Group's board of directors includes artists and community leaders. It provides artistic leadership and professional management to public and private organizations in the creation of art. [17] The organization is centered on an elected group of "Core Artists," who have previously worked on or led its projects. Its "Senior Artists Circle" is an invitation only group that recognizes prominent public artists. [18] [19] The Group also promotes the restoration of artwork. [20]
A mural is any piece of graphic artwork that is painted or applied directly to a wall, ceiling or other permanent substrate. Mural techniques include fresco, mosaic, graffiti and marouflage.
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William Walker was a notable muralist from Chicago. He was one of the founders of the Organization of Black American Culture (OBAC) and one of the leaders in the project involving the Wall of Respect. He was also one of the critical founders of the mural movements in Chicago during the 1960s. He has cited Jacob Lawrence, Charles White, and Chicago painter William McBride, as well as the work of Mexican muralists Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco as important influences.
Arts on the Line was a program devised to bring art into the Massachusetts Bay Transportation Authority (MBTA) subway stations in the late 1970s and early 1980s. Arts on the Line was the first program of its kind in the United States and became the model for similar drives for art across the country. The first twenty artworks were completed in 1985 with a total cost of US$695,000, or one half of one percent of the total construction cost of the Red Line Northwest Extension, of which they were a part.
Here I Grew Up, is a public artwork by American artist Garo Z. Antreasian, located on the lower level of the Indiana Government Center North building, which is near Indianapolis, Indiana, United States. This mosaic depicting five stages of Abraham Lincoln's life in Indiana between the ages of 7 and 21 can be found on the west side of the building by the escalators leading down to the tunnel to Indiana Government Center South. The mosaic is located between the cafeteria's entrance and an automated teller machine.
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