LOVE And The Purpose Of Public Art


Photo: Peter Woodall

Robert Indiana’s “LOVE” sculpture, John F. Kennedy Plaza, 2012 | Photo: Peter Woodall

  • At the Art Blog, the University of the Arts’ Hammam Aldouri reflects upon another artblogger’s recent enthusiasm over the announcement that Robert Indiana’s “LOVE” sculpture will eventually be returned from its temporary home at Dilworth Park (the move slated for tomorrow) to John F. Kennedy Plaza after the latter space is renovated. It’s time to return to asking the fundamental questions concerning public art in public space, argues Aldouri. We should be weary of fetishizing the staycation and the monumentalizing the notion of eternity.
  • Back in 2011, when Occupy Philadelphia was occupying Dilworth Plaza—and the Nutter administration was growing anxious to have the space cleared prior to its $55 million redesign—the notion of having so central a public space become a construction site for over two years was made more palatable with the promise of Pulse, a specular work of public art from Janet Echelman that would visually connect the transformed recreational space with the utilitarian transportation network below. Inga Saffron investigates how far off we are to seeing Dilworth’s capstone project realized.
  • While quick to admit that the reinvention of so many of the city’s old watering holes in recent years has largely been advantageous to the local economy and aplomb, Philadelphia mag nevertheless avers that “sometimes Old Philly should win.” And so here is Christine Speer Lejeune’s “photographic ode” to nine classic haunts.
About the author

Stephen Currall recently received his BA in history from Arcadia University. Before beginning doctoral studies, he is pursuing his interest in local history, specifically just how Philadelphians engage their vibrant past. Besides skimming through 18th century letters, Steve is also interested in music and travel.

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