Last week was, by many accounts, a humiliating one for Chicago, ending as it did with the announcement that the Second City had been knocked out of contention for the much-coveted 2016 Olympics–in the first round, no less. Given that Chicago had already beaten out numerous other international contenders to reach the final four in the first place I don’t exactly see why it’s considered such a crushing embarrassment to have come in fourth but, whatever…I have no dog in that fight. It’s probably just one of the many “Chicago things” that I’ll never fully understand. As an art person, however, I’m far more interested in looking at the blows to civic pride that were delivered earlier last week in the wake of the Tribune’s story on the positive public reaction to J. Seward Johnson Jr.’s outdoor sculpture “God Bless America.” Yeah, you know the one. This one:
Written by Trib reporter Steve Johnson, the article was framed by this headline: “What does popularity of God Bless America sculpture say about public art in Chicago?” This, I think, was precisely the wrong boldfaced header to attach to an article about a sculpture that has been borrowed from the Sculpture Foundation and is not, in fact, meant to be a permanent part of the city’s landscape of public art. Although the Trib’s article does make passing reference to this fact, the headline seems to imply that “God Bless America” somehow holds similar status as the Picasso, Calder or Kapoor pieces do in the city’s world-class lineup of public art.
For better or worse, Steve Johnson’s story gained a degree of national attention, not as much from Chicago’s art crowd as from arts writers elsewhere in the country. On September 30th the L.A. Times’ chief art critic Christopher Knight linked to the Trib article on his Twitter feed with the comment: “Is J. Seward Johnson trying to be America’s Worst Artist?” A few days later Paddy Johnson of Art Fag City wrote a post titled “Bad Public Art Finds Audience in Chicago” containing a point-by-point takedown of Steve Johnson’s main arguments, which he set up as follows:
“Critics can wag fingers at it — and some do — but God Bless America meets some of the fundamental tests of public art. It is noticed, it is appreciated, and, in many cases, it provokes reflection on what makes an art work original.”
I drove by “God Bless America” last week. Parking is monstrous downtown so I couldn’t stop to get out and walk around it, which is too bad, since public art–like all art–needs to be experienced in situ in order to be fully understood and appreciated. Nevertheless, I can’t offer any viable counter-arguments to Knight and Paddy Johnson’s assertions that the sculpture makes for some pretty bad art. Sure, I could attempt some sort of cultural studies-style analysis of how people actually relate and respond to the sculpture in real life (a more populist form of which Steve Johnson was basically attempting in his Trib article) but my heart wouldn’t be in it. Knight’s snarky question was a valid one, and Art Fag City’s post was in keeping with its editor’s ongoing deconstructions of the more egregious myths about contemporary art and its reception–the Trib’s article, sadly, providing a prime example of just the sort of superficial arguments that so often inform those myths.
As far as I know the Trib’s Steve Johnson isn’t an art critic or an arts journalist. He’s a thoughtful and smart culture reporter who was interested in the popular reaction to a popular work of public art in his city. My beef certainly isn’t with Mr. Johnson or with the quality of the article he wrote. It’s with the fact that Johnson’s was one of the rare “news” stories about art in Chicago that the Trib has published over the past few months. And I straight-up disagree with that particular choice of story.
I’ve said it before and I’ll say it again, even though I’m not saying anything everyone who lives here doesn’t already know: it’s a damn shame that a city of the size and cultural prominence of Chicago does not have a national voice for its art scene, a newspaper art critic of the stature of Christopher Knight who could have written about Seward’s sculpture from a critically informed art historical viewpoint as well as the more straightforwardly populist one put forth by the Trib (or, better yet, would have chosen not to make this into a story at all, given that there’s nothing particularly timely or newsworthy about it).
This is not a city of people who know nothing about art and architecture, nor do Chicagoans evince a “fear” of the rigorous discourse that often accompanies discussion about those subjects. So why does the Trib cover art as if it its readership needs hand-holding and spoon-feeding via articles that essentially give us permission to look no further than a work of public art’s most spectacular effects?
Chicago needs at least one real art journalist with a national platform to represent this city to the rest of the country, if not the world (and by “art” here I mean fine art, not theater, dance, music, etc. if that’s not already obvious). Clearly, other arts writers across the country are still paying attention to the Trib’s art coverage and looking specifically (and exclusively) to that paper for news and insight into Chicago’s art scene and its art public. The problem is that the Trib is relying on reporters who have no in-depth art backgrounds to cover art news in this city–no dog in the fight, as it were–and frankly I find the effects of this to be somewhat humiliating.
Chicago needs a high-profile newspaper writer who is both a critic of and an advocate for the city’s art; not a booster but a person who will draw attention to bad decisions and art world folly while at the same time placing new developments within a larger cultural and historical context. Chicago’s art bloggers simply aren’t able to bear that responsibility, not because of a lack of talent but from a serious lack of time, money and resources. My advice to the Trib: get freelancer Lori Waxman on staff and make her a reporter or something–I don’t fucking care, but Chicago needs to cultivate its own Chrisopher Knight some way or another. Until we do, we risk letting writers from other cities steer the discourse on Chicago art. We owe it to ourselves not to let that continue.