Shannon DiStefano

The Functions and History of Public Art in Philadelphia in Creating a Visual Identity in the City of Brotherly Love

Since the inception of the Fairmount Park Art Association, Philadelphia has carved a niche for itself as a hub of public art, earning the title of the "Mural City" from its over 4,000 murals, predominantly facilitated by the Philadelphia Mural Arts organization. These artistic endeavors not only enhance the city's aesthetic appeal but also serve as a driving force for tourism, bolstering the local economy. The extent to which public art functions as a spectacle to divert attention from pressing political issues and a platform for discourse on societal challenges. I invite viewers to contemplate the nuanced relationship between public art, politics, and community in one of America's most historically significant cities.

Robert Indiana, LOVE Statue, 1976, Cor-ten Steel, In John F Kennedy Plaza, Philadelphia, PA. Image is from the Temple University Archives.
 

The LOVE Statue by Robert Indiana (1928-2018), situated in John F Kennedy Plaza, better known as "Love Park," was erected in 1976 as part of the Bicentennial celebrations. However, the Bicentennial event, orchestrated by Philadelphia's then director of the City Planning Commission, Edmund Bacon, exposed deep-seated divisions within the city. The government's resistance to acknowledge the city's diversity and involve the black community led to a counter-protest dubbed "The People’s Bicentennial." Mayor Rizzo's failed attempt to quell dissent with federal troops sparked the "Battle of the Bicentennial." Against this tumultuous backdrop is the installation of the LOVE statue in the City of Brotherly Love, which carries ironic undertones, given the contentious history surrounding the event. Placed in Love Park, once a vibrant hub of youth culture, the statue now attracts tourists, symbolizing the city's complex history and division. 

Common Threads by Meg Saligman on the corner of Spring Garden and Broad for Mural Arts was completed in 1999​.  The models used are students from the Philadelphia High School for Creative and Performing Arts, positioned as historical figures, figurines, and themselves​. Mural Arts plays a central role in expanding Philadelphia’s public art scene. Beginning as the Anti-Graffiti Network to convert graffiti artists into muralists. There has been much controversy over the early history of the organization. While murals have been praised in the city, graffiti has been demonized. Mayor Goode created the Anti-Graffiti Network along with a sector of the police force dedicated to arresting graffiti artists. In the 90s, under Mayor Ed Rendell, graffiti or even having spray paint could be punishable with a year in prison or a $2,000 fine. Today, Mural Arts has taken initiatives in rehabilitation with the ‘Restorative Justice’ program. When looking at the history of Philadelphia, it is impossible to separate the city from the roots of systemic racism and the beginnings of the prison industrial system.  

 
Meg Saligman, Common Threads, 1999, On 525 N Broad Street, Philadelphia, PA. Image from the Mural Arts. Photo by Tom Crane. 
Jody Pinto, Fingerspan, 1987, Corn-ten Steel, Wissahickon Creek Trail. Image from Association for Public Art. Photo by Wayne Cozzolino.

Fingerspan by Jody Pinto (1942) was completed in 1987 on the Wissahickon Creek trail near the Livezey Dam in Fairmount Park. Before the construction of the sculpture, the artist and the Association for Public Art gathered feedback from residents and hikers who frequented the area. The specific placement and structure were chosen to solve the issue of people getting injured in the gorge where the sculpture has created a bridge. Pinto’s work focuses on integrating art and form with the natural world. The sculpture mimics the shape of a human finger bending its hinged joints. It blends seamlessly into the trail, with the Corn-ten steel rusting quickly blending into the environment. The sculpture embodies the public art principles of the Association of Public Art. Their specific invitation to artists focused on the work to “be utilitarian, site-specific, and integral to community life.” 

William Rush, The Allegory of the Schuylkill River, 1809. Image from the Smithsonian American Art Museum. Photo by Philip B. Wallace.
 

The Allegory of the Schuylkill River, sculpted by William Rush (1756-1833), is a testament to Philadelphia's historical evolution and the symbolism of water to the city’s status. Commissioned against the backdrop of the 1793 Yellow Fever epidemic, which underscored the importance of sanitation, the statue commemorates the city's public water system, which was inaugurated in 1799, sourcing water from the Schuylkill River. Originally situated at City Hall before relocating to Fairmount Water Works, it represents the nation's first decorative fountain funded by public resources. Notably featured in a painting by Thomas Eakins, the statue's significance is juxtaposed with the decline of the Schuylkill River's ecological health over time. Its pedestal, crafted from native rock, anchors it to its surroundings. Today, the park surrounding the statue serves as a recreational space for picnics and exercise, inviting reflection on the city's past and parallels with ancient civilizations' displays of wealth through water monuments. 

Alexander "Sandy" Calder, Three Discs, One Lacking, 1968​. Image from Association for Public Art. Photo by Caitlin Martin.

The Three Discs, One Lacking by Alexander "Sandy" Calder​ (1898-1976) was built in 1968​. Situated between the Swan Memorial Fountain on Logan Square, by his father, Alexander Stirling Calder, and the William Penn statue on top of City Hall, featured in the background of this image created by his grandfather, Alexander “Milne” Calder. The piece was initially purchased with funds from the National Endowment for the Arts by Philadelphia’s City Planning Commission Director Edmund Bacon. The parkway was one of the landmark projects of the Fairmount Park Art Association, creating a centerpiece for the city where the Calder family has left an undeniable legacy.

Shannon DiStefano

(she/her)

Art History/Italian Studies ‘24

Shannon DiStefano from Philadelphia is a senior art history major and minor in Italian studies at Temple University's Tyler School of Art and Architecture. She has prioritized learning art history from a global and community-oriented perspective for the past four years. As a Temple Rome entry-year student, she spent her first two years studying in Rome and continued her study abroad experience at Temple University in Tokyo, Japan. She is excited to graduate this May at Temple Main Campus in her home in Philadelphia. Shannon enjoys trying new food around the city, rock climbing, and studio classes.

Instagram: @shannon.distefano