Abstract

Challenges and paradoxes arise when artists interested in social equality and justice have to deal with the outcome-driven procedures required by bureaucratic organisations who engage them. What are the consequences for artistic integrity when art becomes a vehicle for achieving preconceived outcomes such as social harmony, the “experience economy,” or “gap fillers” to create “vibrant cities”? I argue that art is transcendent: it surpasses society, and culture. Art offers potential, not answers or solutions, and should be a “gesture that matters” as a self-contained “thing.” Art theorist Claire Bishop contends that art is “better” when it is antagonistic rather than aiming merely to create a harmonious utopia. Professor David Cross, developer of Limitless, a public art entity in New Zealand, believes public artists require a particular skillset that includes intellectual, technical, and negotiating skills. From my own practice-led research as a sculptor I will provide an informed rhetoric to help guide both artists and the organisations that wish to employ them.