“Billionaires shouldn’t exist.” – Bernie Sanders
Until the 1960’s a painter generally might attempt three or four wall-sized paintings in their lifetime and the limits for a large sculpture were roughly the length of Rodin’s “Burghers of Calais” or height of his “Balzac”; the sculptor David Smith’s oeuvre comes to mind. And it wasn’t simple modesty on the part of artists that kept the dimensions of artwork from becoming grossly inflated, it was an economic practicality. Unless a patron came forward with the funds to commission a large work prior to its creation most artists simply couldn’t afford the cost of materials, storage and handling.
Since then, however, and particularly at present there appears to be no limit to the space that the average artwork is entitled to consume. Promoted largely by museums, biennales and art fairs in search of greater spectacle and record-breaking attendance numbers from the public, monumentalism in art has taken on the aspect and funding of a minor NASA space project.
Who pays for such ostentation? Answer; you the public in the increased cost of individual ticket sales and attendance fees, in the corporatization of art institutions towards a culture that both reflects and promotes the lifestyle that only a 100 acre estate with a 50 room mansion full of expensive artwork could support, tax laws that favor wealthy collectors and corporations with prominent board members who “donate” to large short-term vanity projects in return for advertisement, and the same laws that permit the same large corporate-driven intuitions to operate tax-free under a “non-profit” umbrella while still largely supporting a record profit-making art market with your tax dollars.
Who are the artists who gain from large museum-size works? The list grows every year after every new exhibition season from a pool of cherry-picked artist celebrities with “factories” of low-paid or volunteer “helpers” and the ability to hedge the costs of large projects towards a return in profit for anyone willing to underwrite their fabrication, insurance fees, installation and ultimate storage or wasteful demolition – and certainly not the average artist living on a less-than-average budget filing the allowed tax loss on the sales against their self-employed business every two or three years.
How to reign this absurd trend and put a final end to it? As the bulk of these incursions on public property can safely be categorized as oversize art-school assignments it might also be safe to conclude that the ‘bigger is better’ phenomenon can and should be abolished as a standard in art school curriculum as frankly, unsustainable, not only in environmental terms, but as the cost in materials, space, and individual manpower is far beyond the scope that all but the wealthiest or wealthiest-connected artists could ever afford economically. As publicly-funded billboards for the moneyed-class in an urban environment that otherwise regulates the size and placement of visual and traffic obstructive commercial promotions, such ‘art in public places’ should be included. And, just as a border wall or the redundant Civil-war general on a pedestal in the public square is seen to be both obsolete and more often offensive, so are many of the monstrosities currently replacing those.