Despite the City of Austin’s initial decision to deaccession four public art pieces located in the Austin Convention Center, it is now working with the artists to find solutions to keep their works in the public art collection.
John Yancey, “Riffs & Rhythm,” 1996, broken ceramic tile mosaic
During a City Council meeting in February, the Council voted to deaccession Margo Sawyer’s Index for Contemplation (2002), a site-specific sculptural installation; Rolando Briseño’s Macro/Micro Culture (2002), an installation of giclee prints, which are permanently affixed to the walls; John Yancey’s Riffs & Rhythms (1996), a mosaic mural built into the structure of the wall; and Damion Priour’s Waller Creek Shelves (1996), a sculptural installation. In addition to deaccessioning the pieces, the City made it clear that artwork removal would be at the cost of the artists, and if they could not or chose not to remove the pieces, the works would be destroyed as part of the demolition and rebuilding of the Convention Center.
Margo Sawyer, “Index for Contemplation,” 2002, powder-coated steel & aluminum and yellow zinc-plated steel
Following an outcry from the arts community, in early March the Council passed a new resolution adjusting the City’s policies to better support artists in the future. Several community members showed up to the March 6 City Council meeting to voice concerns that the resolution did not directly address the current issues faced by the four artists whose work was recently deaccessioned.
Now, the City’s recently established Office of Arts, Culture, Music & Entertainment (ACME) team, led by Angela Means, has joined discussions with the artists to seek solutions. A spokesperson for the City provided Glasstire with the following updates:
“A third-party donor will support the de-installation of John Yancey’s piece, which will be securely stored until it can be re-installed in East Austin’s historic center of the African American Heritage Cultural District. It will remain in the City of Austin’s public art collection.
Damian Priour’s artwork will also remain in the City of Austin’s Art in Public Places collection. It is anticipated to be installed at the Austin Central Library.
Parts of Margo Sawyer’s piece will be re-incorporated into the redevelopment of the Austin Convention Center.
We are still working on solutions for the work of Rolando Briseño.”
Rolando Briseño, “Macro/Micro Culture,” 2002
Mr. Yancey told Glasstire, “There has been an incredible amount of support from so many people and I am hopeful for a successful deinstallation and positive result with Riffs and Rhythms having a new home in this important cultural district being built by the Pleasant Hill Collective.”
Damion Priour, “The Waller Creek Shelves,” 1996, limestone, glass, and found objects
In a March 19 memorandum addressed to the Mayor and City Council, Ms. Means noted that Phase 1 of the Airport-Based Public Art Plan, which had come under scrutiny by locals for not including Austin artists, has been paused “to ensure meaningful participation” from local artists. The memo also addressed public art in the Convention Center, noting its plans to relocate artworks where possible. It stated, “By preserving and reinstallation these artworks, ACME reaffirms its dedication to cultural continuity, public engagement, and sustainability of Austin’s artistic heritage.”
3 comments
It makes good sense to relocate some of the art from the convention center to another public building! The initial plans were short- sited and disrespectful to these artists.
This is truly great news! Taking care of cultural heritage is a commitment worth keeping.
I’m glad to see these public artworks might be preserved, although the only difference seems to be that the City has agreed to try to preserve them. BUT. They still won’t contribute to the cost of the removal; the cost is big; the artists are still the ones who must raise the funds;; and if they don’t, they still will be demolished. Let’s hope the Austin Art community steps up.