Questions for Sound Garden Guy:

Establishment Questions:
What pieces do you work on?
What do you do to them?

What are challenges you face in maintaining large scale installations?

Do you have contact with the artists who created the pieces?

Do you ever have to make decisions that might change part of the artistic intent of a piece for logistical or structural reasons? If so, do you contact the artist in these cases?

People get very connected to pieces of public art, the Sound Garden definitely included, and changing a piece after it's installed seems like it could create an emotional response. Have you ever encountered such a situation, or been put in a situation to make a decision that might have such an effect?

Was there much public response to the new security measures as they related to the accessibility of the Sound Garden?

What do you think it is about the Sound Garden that draws people to it and makes it a successful piece of public art?

Do you think that people are willing to invest more in the upkeep of popular pieces, and, if so, is this a a way that public art is indirectly judged by its audience? Is the Sound Garden particularly well cared for in a sense because of its popularity?

Do you have any favorite pieces of public art?

Any least favorite pieces?


Questions for Barbara:

Establishment Questions:
What is your current role in public art finance and creation?
What have been your previous roles?
How did you get involved?

What are some criteria you use in selecting pieces?

What do you think the role of good public art is in our society?

Given the fact that many people are not trained in the interpretation of fine art, do you find that you must balance selection of pieces between those that ones that are artistically stimulating and pieces that would largely confuse viewers?

A lot of installations, particularly on private property downtown, are, at first glance, quite imposing and inaccessibly abstract structures. What do you think the intent of these pieces was?

In the case of privately sponsored public art, do you think that the selectors go out of their way to gauge public reaction to pieces, or are they more concerned with pleasing their clients?

Given the pitfalls of so called "design by committee," how can the process of selecting and installing public art maintain the vibrancy and passion of good art?

How much interaction is there with the artist after a piece has been selected?

Are artists frequently asked to change their designs in order to accommodate the needs of the patron? If so, do artists react positively to such requests?

A lot of pieces in Seattle, such as Waiting for the Interurban and the Fremont Troll have been very much taken in by the community, and people feel drawn to interact with them. This, however, is not the case with many of the the large pieces on private property downtown. Do you think in the latter cases this is a failure on the part of the selectors to choose engaging pieces, or is there an intent in creating something that has a more isolated feel?

If you don't mind engaging in a bit of a thought experiment, public art is often used by archeologists and historians to draw conclusions about a culture. What do you think the public art that would be found in Seattle today would say about our society to someone isolated from it by time?

Do you have any favorite pieces of public art?

Do you have any least favorite pieces?

Do you see any trends in current selection and creation of public art pieces?