CULTURAL ANALYSIS USING AN ARTISTIC LENSBy Kyle Palzer

LA 3601

PROJECT SUMMARYFeedback Summary

I began this diversity and equity semester project by wanting to learn more about the cultures that existed along the corridor, and I decided to pursue this goal by looking at the station art along the corridor. I undertook this process by looking at how the art at each station was used as a placemaking mechanism to defi ne neighborhoods and cultures along the line. I was skeptical at fi rst about how well the art could relate to the variety of people that exist in each area near the stations, but aft er researching each station along the line, I feel very strongly that overall the art does a good job and relating to the individual area.

When conducting research, the city of Phoenix’s Public Art Master Plan, created in 1988 was interesting to learn about and how they wanted to “suggest ways of thinking about public art, urban design and infrastructure so that the Phoenix Arts Commission could use it…long aft er they were gone.”1 In a similar way, St. Paul has created the Central Corridor Public Arts Plan which looks to give defi nition to future development and how art can have a role in that. Th e city of Phoenix and its art have fl ourished as “more than 170 projects have been completed since 1986”2 What I found most interesting about the Central Corridor plan, is that it was initiated aft er realizing that the corridor was full of vacant lots, empty storefronts, and for sale signs which made the area feel abandoned. Today it no longer has this quality. Perhaps it is the art at each station that reduces this eff ect.

I also learned about the Detroit Art in the Stations program for their People Mover monorail system. It is said to be one of the “fi nest art collections on daily view anywhere.”3 Th is is the power of good public art. One could argue that the Green Line might too feature the fi nest art collection for public viewing within the city of St. Paul. Th is is due to the quality of artist chosen for the project. Two of the project artists came from the East Coast, one from the West Coast, and the others are highly qualifi ed artists from the Twin Cities area. Th e fi nal seven artist’s teams were chosen from a list of 300 applicants, which shows how carefully the Metropolitan Council worked to get the very best artists possible to create the art for the corridor.

In regards to placemaking, I learned that the goal should be to “defi ne, reveal, enrich, reinforce, expand, and make accessible place meaning.”4 Th e stations along the Green Line do just that, and reveal information that would otherwise be hidden. Th is is especially true for the stations that use history as their inspiration for the art, nearly 10 of the 18 stations reference the history of the place and what it once was. Th e other stations follow the idea of defi ning; reinforcing and expanded the current cultural communities in the area, 5 of the stations have direct references to the culture of the existing neighborhood. Th e remaining stations focus on the conditions of the everyday person. Th erefore, in regards to placemaking the line does an extremely good job at defi ning the area alongside the stations. Since the normally hidden elements are able to be seen in the stations, one aspect that those using the line may not see is the lengthy process the artists had to go through for the fi ve year project. All the community input, time and eff ort is largely invisible to those using the stations.

Unlike the Metro Blue Line (Hiawatha) the stations along the Green Line have a similar design, with the art being the only diff erentiator. Whereas the Blue Line had diff erent station designs throughout, the Green Line has a much more equitable design; one station is no longer superior to another. Th e Green Line stations therefore allow the art to stand front and center as the centerpiece. As the Green Line Extension (Southwest) is entering its fi nal phases, the Metropolitan Council should again look to use this technique. By using the exact same station design throughout it shows we have an equitable system that provides transit opportunities to all.

One thing I wanted to know was if the artists represented the communities they were designing for. It appears as though only one of the artists actually lives along the line, however two others live within the Twin Cities. Despite the majority of the artists being from outside the line, they did a good amount of research and listened to public feedback from surveys to create artworks that represent the communities they serve. One question that still remains unanswered is if the community will grow attached to the art work at each station. Since the lightrail is not running yet, it will be hard to tell if the art is treasured by the community. Like anything of value, it would be interesting to survey the residents to see how much they care about the station art. Someday in the future if the station art was ever removed, would the community try and stop it, would they protect it, how valuable is the artwork? Th is will help to determine its success in relation to the community.

In order to get an accurate representation of successful placemaking and cultural defi nition I needed to analyze each stations art in relation to the communities surrounding it, and learn more about the artist’s intents. Th e italics words are descriptions provided by the Metropolitan Council from the artists to learn more about each stations design intentions. I was also able to speak directly with three of the station artists themselves, Andrea Myklebust, Roberto Delgado, and Seitu Jones, to learn more about their role in the process and about their inspiration for each stations design.

Cedar Riverside Station (Metro Blue Line) Bloomington Central Station (Metro Blue Line)

1 (Irene Walt vii) 2 (City of Phoenix) 3 (Art in the Stations : Th e Detroit People Mover 12) 4 (Ronald Lee Fleming 7)

Example of typical station design along the Green Line

Some of the things mentioned from the feedback I received, were to think about how to eff ectively try and measure the perception of public art for its eff ectiveness at placemaking. I was also suggested to create a cultural/race map to help identify the makeup of the neighborhoods along the line. Th ey also wanted to make sure I was relating the stations back to this idea of placemaking as well as addressing issues related to equity along the line. It was also suggested to me to look closer at the idea of the seen and unseen elements of placemaking along the line, in regards to how the public will perceive the art. Lastly it was also suggested that I should bring in aspects of other successful projects to compare our system for its potential success.

METRO GREEN LINE Selection Process

“18 Stations, 11 Miles”

“Th is team was recommended because of its well-grounded approach to public art and the team’s approach is particularly well suited to designing art for stations located in historical districts (the team conducted extensive research on the history of station areas in its proposal). Th ey have a good track record with other public art projects and understand the concept of integrating art into the station design.”

Myklebust and Sears – Westgate, Raymond, & Union Depot Stations

“Seitu’s proposal off ers a plethora of art possibilities for his stations. It was felt that this artist and his team would be well suited to work at these stations based on the artist’s strong knowledge of the neighborhood and its history. Jones has included three emerging artists on his team who will assist in the design which was favorably viewed by the ASC. Th is artist has a good local track record with other public art projects and has demonstrated fl exibility in the development and implementation processes.”

Seitu Jones – Lexington Parkway, Dale & Capitol/Rice Stations

Janet Lofquist - Prospect Park, Robert, & Tenth Street Stations “Janet Lofquist’s art technique is to incorporate words and language in a variety of media. Th e ASC recommends Lofquist for the Tenth Street and Capitol East because of the appropriateness of subtle, dignifi ed art at these stations and her strong background developing public art with an architectural quality. Th e ASC and technical advisors also suggested that her choice of materials and use of words would work well with the Prospect Park Station.

“Nancy Blum is recommended for the East and West Bank stations because of her environmentally themed approach with fl ora and fauna and because of the large scale of her proposed artwork. Th e ASC also recommended that Blum design the art for the Fairview Avenue station, the station which she proposed. Th e ASC noted that this artist has a good track record working with institutional entities and would work well in the university environment.”

Nancy Blum – West Bank, East Bank & Fairview Stations

“Delgado’s approach using photo murals was well received by the ASC. Th e committee felt that the artist would work well with the community in the development of public art, particularly with local schools. It was felt that because of Delgado’s intense color palette that this artist should work on stations scattered along the entire line rather that at adjacent stations. Th e ASC felt that Snelling Avenue station was an ideal choice for Delgado’s work and there was a strong desire to include his work in downtown Saint Paul and the Stadium Village station at the at the University.”

Roberto Delgado – Stadium Village, Snelling, & Central Stations

“Foster had a very comprehensive and cohesive proposal which touched many areas of the station. His proposed community coordination and past community coordination with completed artwork was impressive to the ASC. Th e group also felt the materials Foster works with are very durable, low maintenance, and would work well on the CCLRT stations.”

Foster Willey – Hamline & Victoria Stations

“Catherine was impressive in her use of abstract and organic artwork, and her past experience working and living in culturally diverse areas. Th e group felt this artist would work well with the community, and felt her past projects are indicative of the quality of her work.”

Catherine Widgery - Western Station

Th e Met Council solicited artists to design, fabricate and install art at the 15 stations on the Central Corridor LRT. Th is solicitation included issuing a Request for Qualifi cations (RFQ), identifying a shortlist of qualifi ed artist and issuing a Request for Proposals (RFP) to the shortlisted artists for fi nal selection. An Artist Section Committee (ASC) representing project partners is assisting the Met Council in the procurement process by providing recommendations on the fi nalists. ASC members interviewed the 10 artist fi nalists, each interview was 40 minutes and included a presentation by the proposing artist followed by a question and answer session. Following the interviews the ASC and evaluation panel members discussed the merits of the 10 presentations and proposals.

In February 2010 three stations were added to the Central Corridor, at Hamline, Victoria and Western. Th e Metropolitan Council again solicited artists to design, fabricate and install artwork at these three stations. Another RFQ was issued and the ASC reviewed those proposals, and identifi ed a shortlist of qualifi ed artists. Th ose shortlisted artists were then issued a RFP. Th e ASC interviewed the three fi nalists, and again each interview was 40 minutes and included a presentation by the proposing artist followed by a question and answer session.

Th e process for the artists was incredibly lengthy and involved 300 artists who submitted proposals and was reduced down to 10 artists interviewed and fi nally down to 5 selected. Artists were then given extensive contracts to complete, upwards of 100 pages to fi ll out before they could begin work on the project. From start to fi nish, the process has taken nearly fi ve years to complete, and featured issues regarding design ideas, community involvement, safety training for installation and material selection along the way that each artists had to endure.

The Process

Diversity and EquityTh e members of the Artist Selection Committee was a combination of staff from: Metropolitan Council, University of Minnesota, Cities, Counties, local art experts like Public Art St. Paul. Each station’s art came with a $187,000 budget and involved residents in the planning. “We put a lot of eff ort up front into keeping the community involved,” said Laura Baenen, communications manager for the Central Corridor project.

Th e artists themselves represent a good mix of diversity, having four men and four women as artists of which two belong to minority communities. Th e artists also come from a wide range of geographic areas. Th ree are members of the Twin Cities community, and four teams are from across the country. Th is provides the corridor a wide variety of artistic creativity.

Diverse neighborhoods along the corridor.

Blue represents the black community, pink is Asians,

and yellow is Hispanics.

Station Artists Map of Location

WEST BANK STATION Nancy Blum

“Immigration/Migration”

Th is station acts as the gateway to the Green Line as well as the University of Minnesota campus from the west. It is also the only station along the line that doesn’t follow the general station design, by including two circulation towers, one on each side of the platform, to the main roads above.

Th e design recognizes the areas immigrant communities, specifi cally Cedar-Riverside’s history as a place of passage. Th e patterns on architectural mesh come from the mix of cultures who have called the neighborhood home. Th e mesh features Nordic, Chinese and East African-inspired designs. Laid over that are fabricated metal cut-outs of migratory birds who use the nearby Mississippi River Flyway. “I wanted somehow to pay homage to the neighborhood and, poetically, I just loved that idea of acknowledging all the groups and species that have made their way there,” Blum said.

Artist Intent

Th is installation is one of the best along the line of truly showcasing the diversity of the neighborhood and draws a connection between the movement for travel, in regard to both transit, immigration and migration. It is a trifecta of movement captured poetically in the art work that gives defi nition to the neighborhood as well as meaning to the inhabitants of the area. Th e use of textile imagery that refl ects the Somali immigrant community within the area, is a feature that adds to the signifi cance of this project.

Th e project has the ability to take on a dual life depending on the time of day. At night, it is equally if not more majestic becoming a beacon of light for the neighborhood, highlighting the community as a whole and expressing the cultures and traditions of the area.

EAST BANK STATION Nancy Blum

“Hypocycloids”

Th is station is at the heart of the University of Minnesota East Bank Campus, and as such the artist attempts to highlight the strength of the math and science programs and the overall idea of discovery that is at the core of the university’s mission.

Th e large spirographs are cut out of thick stainless steel mounted on the communication cabinets along cast concrete sandblasted with the mathematical formulas that describe the ‘path’ of a hypocycloid. Th e same de-signs are visible from both sides of the center platform.

Artist Intent

While successful at showcasing one of the university’s strengths, the installation does not mention the other 185 diff erent degree programs available at the campus. Th erefore, it may be hard for students to feel attached to the art in the way the mascot Goldy Gopher, or the Block “M” might have achieved. Th e project is also peculiar due to the fact that it is located within the medical district of the campus, and makes no attempt to mention the world class heath education available to students, literally across the street.

Despite the questionable representation of the student body, the station will be the busiest of all the 18 stations along the line. Approximately 6,500 students and faculty will board the train headed towards either downtown or to the West Bank campus.

STADIUM VILLAGE STATION Roberto Delgado

“A History”

Located behind the University of Minnesota TCF Bank Stadium, this station is aptly tilted Stadium Village, originally named for the former Memorial Stadium that existed before the current stadium was constructed.

Th e station art features a collage of historic and current photos from around campus and the Twin Cities, including several photos from the U of M archives. “I like to superimpose photos so it becomes like a puzzle and you have to get up close to see what’s going on,” Delgado said. Th e design was made by transferring the images to tiles using a silk screen process.

Artist Intent

Th e use of bright colors and creative collaging brings a sense of energy and excitement to the art, similar to a gameday experience aft er watching a football game. Th ere is a sense of youthful spirit to the project, which represents the members of the campus community that will be using this station on a daily basis. Th e project has a sense of discovery each time you look at it, and will surely provide those waiting for a train ample opportunity to do so.

Th e installation appears as though it will be successful at helping to give defi nition to an area that has oft en lacked character compared to the nearby Dinkytown area. As a student center, and gateway to the university from the east the art installation will have big shoes to fi ll as both a neighborhood icon and campus welcome sign.

PROSPECT PARK STATION Janet Lofquist

“Memory Imprint”

Located in the iconic Prospect Park neighborhood the area is known for a mix of light industrial and residential. It is the last station within the city of Minneapolis boundaries. Th e station was initially to be called 29th Avenue Station, but public input wanted the station to refl ect the well-known neighborhood.

Th e artist designed the platform based on the history of the area with colored concrete and fi nishes to realize the design, the images make the connection between Minnesota’s agricultural past, rail transportation and grain storage. She also surrounded columns with aluminum decorative bands, with a playful nod to the “witch’s hat” water tower in nearby Prospect Park.

Artist Intent

Th e project treats the columns in a rather unique way compared to other stations along the line, and highlights them well. However, it is the only art to be found at the station, and with the majority of the walls blank, the station feels rather empty. Since the station is within a business and industrial area, it may be hard for the station art to be cared for and loved.

Th e installation appears questionable for success. Although there is a strong neighborhood association nearby that has developed signifi cant plans for suture growth, the station lacks identity relative to Prospect Park. Known for it’s Witches Hat tower, the artist claims to use it for inspiration, but the realization of that seems unsuccessful. Th at being said, because the tower is so iconic, trying to create art that could rival the placemaking capabilities may have been a loft y goal to ask one to achieve.

WESTGATE STATION Stanton Sears and Andrea Myklebust

“Willys Overland / International Harvester Tractor”

Th is station is aptly titled Westgate, as it is the Westernmost station in St. Paul, and the gateway to Minneapolis. From the East, it also serves the opposite role of being the gateway to St. Paul.

Th e station art took inspiration from the neighborhood’s industrial heritage, creating bronze and granite works that showcase a variety of wheel types. Th e stations include sculpted elements depicting an International Harvester tractor wheel and a wheel from a 1920’s Willy-Overland car. A sculpture of wheels used by transit vehicles in the corridor will be installed this spring. Carved lettering in the pavement also provides directional arrows pointing towards Minneapolis and St. Paul.

Artist Intent

Th e artists wanted to have their stations located on each end of the city of St. Paul, and were awarded the Westernmost station (Westgate) as well as the Easternmost station in the city (Union Depot) in order to better defi ne the city in relation to the light rail. Th e granite wheels telling the story about the history of the area is a unique idea to provide a visual reminder of what was, as well as what is today, by showing wheels from a 1920’s car and a modern transit bus wheel from today.

Th e installation appears as though it could be successful at helping to give defi nition to the station area as it is in a largely industrial area. Th ere are a few residents nearby who will be using the station, but the majority of the station users will most likely be workers on their way to and from jobs in the area.

RAYMOND STATION Stanton Sears and Andrea Myklebust

“Red River Oxcart / Diesel Truck”

Located within the heart of the Raymond Creative Enterprise Zone, this station is at the center of the Twin Cities newest up-and-coming artists. Th e area is transforming from its heavy industrial heritage to a new era of livable, mixed-use neighborhoods, providing live/work space for the resident artists.

Th e inspiration for the art comes from the Red River oxcart trail that passed near the station site and transportation from industrial business activities located in the vicinity. Carved black granite wheels depict the oxcart and transportation industry and intricate artwork in a raised safety screen of bronze wire mesh surrounding the carved granite, as well as a band of transportation scenes in relief on large panel.

Artist Intent

Th e station does a good job of again making the station have a bit of an industrial feel to it mainly for choice of materials and color found at the station. However, the art could have gone a bit further to help express the changing “creative enterprise zone.” As the station is similar in both materials and art form, it may be hard for travelers on the light rail to understand the importance of the stop, and see all the creativity the area has to off er the broader community.

Th erefore the future success of the art at this station in relation to placemaking could potentially be unsuccessful if the area does truly become a fl ourishing creative area. On the other hand, if it continues to maintain its industrial character, then the artists may succeed in giving defi nition to the area. Either way, the station does refl ect the history and signifi cance of the site, which is something that has lasting qualities.

FAIRVIEW STATION Nancy Blum

“Old Oak Forest”

Th e site of this station is located at the intersection where University turns from being parallel to the Mississippi River towards St. Paul in an East-West axis. Th e station is located within a large community service area, featuring organizations such as Habitat for Humanity, Goodwill Twin Cities, and workforce assistance programs nearby.

Th is station features glass mosaics featuring elements of the old oak trees that can be found in the surrounding neighborhoods. Th e art also features imagery of nature that could have been found within the magnifi cent old oak forests, on 22 diff erent mosaics embedded into the cast concrete paying tribute to the areas indigenous landscape.

Artist Intent

Th e use of intricate mosaic patterns and imagery of nature instantly engages the user into a deeper appreciation for the art and a curiosity as to why they are shown when the area has become an urban oasis, void of most of these features once present on the site.

Th e installation should be rather successful, as there are other pieces of public art in the area directly adjacent to the station that also feature nature (bird statue, and leaf bus stop shelters). In addition, the green coloring of the stations steel, completes the feeling of being back in the natural experience that once existed here.

SNELLING STATION Roberto Delgado

“A History”

Located at the busiest intersection in the state of Minnesota, this station is also at the heart of the Midway shopping area, and is sure to be used by many residents along the corridor for shopping purposes.

Th e art is composed of historic and current photos from around the Twin Cities, which were transferred to tiles. Th e murals and columns included hundreds of faces, including some of present-day bus riders Delgado photographed. Delgado said the resulting art is “pretty abstract” but is intended to invite the curiosity of those traveling to or from the station. “If you look hard enough you’ll fi nd something,” he said. “And if you fi nd something that’s a pretty good trip, artistically.”

Artist Intent

Th e use of bright colors and creative collaging brings a sense of energy and excitement to the area, similar to the act of shopping, being in a state of motion and being surrounded by colorful things looking to grab your attention. Th e station is very similar to his other projects along the line, in regards to color and materials, but it does add abstract faces into the art, which could very well be any transit user going amongst their day.

Th e installation appears as though it could be successful, as people may become personally drawn to the art. In regards to placemaking it doesn’t necessarily call out the shopping found in the area, but since it is so well know for that, the artist may have chose to suppress this quality. Instead he chooses to highlight the individual in the area. “Th e bright colors were also in response to community requests to add color to the station.” -Metropolitan Council

HAMLINE STATION Foster Willey

“Hamline Prairie Station”

Located at the center between both downtowns, the area is also known for its higher education opportunities as well as being located within the Midway shopping area.

Prairie School Architecture and plays on the motifs of the work of William Purcell and George Elmslie. Th eir domestic and commercial buildings are considered a “unique expression of the American Spirit”. Th e Twin Cities were an important part of this artistic movement. Th e Prairie style was a combination of geometric and organic forms; the station provides a modern context for new designs that are both original and complimentary. Th e artist collaborated with architect Guy Willey and together they worked to carefully integrate the artwork into the existing architecture of the platform shelter, reviewing all the design elements and material options in order to achieve a balanced and active art experience for passengers.

Artist Intent

Th e nod to prairie school architecture is an interesting choice for this station, since it is located in such an urban area. Th ere appears to be no clear explanation as to why the artist choose this as inspiration for this particular site, rather the artist is referencing a general movement that was prominent in the Twin Cities a number of years ago.

Th at being said, it is extremely unlikely that the station will have the power to be eff ective at placemak-ing since the station doesn’t reference a particular aspect of the localized community. Th at being said, it is providing historical insight into a particular aspect of the Twin Cities community that many may not be aware of.

LEXINGTON STATION Seitu Jones

“Poem by Tou Saiko Lee Universe on University”

Th is station is located at the only point along the corridor that has a parkway with trees intersecting University Avenue. It is also located near the site of the former Lexington Park baseball stadium for the St. Paul Saints.

Th e station therefore, draws inspiration from the Lexington Ballpark structure, ash and hackberry trees lining the parkway and African and Asian textile patterns. Structural steel light columns will be inspired by the structure of Lexington Ballpark that stood near this site. Th ere will be cutout leaf patterns in the structural steel light columns and leaf patterns on the communication cabinets, as well as Roy Campanella’s hands at bat featured on the end of the panels. Th e railing design will be inspired by speed, direction and movement.

Artist Intent

Th e direct nod to the past, seen evident in the lighting structure, and the nod to the Emerald Ash trees lining the parkway, soon to be destroyed by the Emerald Ash Borer, and the highlight of a famous African American community member, creates a trifecta of memory and really highlights what this community is all about.

Th e installation will be very successful at giving defi nition to the community, because it refl ects it so nicely. In regards to diversity, by highlighting a former member of the cultural community who did great things with his life, hopefully others in the neighborhood will continue to look up to him as inspiration of what hard work and dedication can do to help one succeed in life.

VICTORIA STATION Foster Willey

“Faces of Rondo”

Located within the heart of the Rondo neighborhood the largest African American community along the light rail line, as such the station chooses to highlight important community leaders throughout the neighborhoods history.

Th e art commemorates the individuals past and present, who have contributed to the historic Rondo community and beyond. Sixteen over life size sculpted relief portraits acknowledge each person and their eff orts. Th e community of Rondo and the Station Art Committee (SAC) were directly involved in the selection of these individuals. Th e station artwork also includes narrative tile that refl ect the changing history of the neighborhood. Th e artwork was derived primarily from photographs, fabricated in clay, molded and then hand cast in Terra Cotta and Precast Architectural Concrete. Th e artist collaborated with architect Guy Willey and together they worked to carefully integrate the artwork into the existing architecture of the platform shelter, reviewing all the design elements and material options in order to achieve a balanced and active art experience for passengers.

Artist Intent

“In our early meetings with the community, they really wanted it to be about, a little bit about their history and people that have really made it a great place,” said Foster Willey. Th ere are 17 images from nationally famous Life Magazine photographer Gordon Parks to locally famous Tiger Jack Rosenbloom who was the proprietor of a tiny store on Dale Street near the Interstate. Others include college professor Mahmoud El-Kati, former Minneapolis mayor Sharon Sayles Belton and Model Cities offi cial Beverley Oliver Hawkins.

Th is art installation has generated the most press coverage thus far, regarding the role it has in helping to shape the community and give it defi nition. Because of the strong community involvement, the station is sure to become loved and cherished by the local community.

DALE STATION Seitu Jones

“Poem by Soyini GuytonCrossroads again”

Th is station is located at the hub of many diff erent cultural groups, between the Black Rondo neighborhood and the diverse Frogtown neighborhood. Th e site is also home to the only library along the green line, sure to be a draw to the many people who travel along the corridor.

Th e station art shows textiles of diff erent cultures that have immigrated to the area and icons from those cultures inspired the artist when he proposed painted steel inset into large panels featuring quilt patterns. Th e art treatment also includes a band of poetry on the railing. Th e work highlights African, Polish, German, Irish, and Asian cultures.

Artist Intent

Th e use of bright colors and a variety of cultural symbols does a great job of refl ecting the diversity of the area as being a place home to many immigrants from across the world, looking to come to the St. Paul and begin a better life. Th is spirit of newness is refl ected in the vibrant colors and patterns that give defi nition to the community.

Th e installation does a fantastic job of equally representing the many diff erent cultures of the area, and treats them all in an equal way. Th erefore in terms of both equity and diversity, the station works well to be inclusive of all who may be using this station on a daily basis.

WESTERN STATION Catherine Widgery

“River Dragon”

Within the heart of the Little Mekong neighborhood,a distinct Asian neighborhood, it is one of St. Paul’s newest up-and-coming neighborhoods. It features many popular Asian restaurants, shops and services unique to the Twin Cities area.

Th e station art combines the symbolism of the River: (both the Mekong River and the Mississippi River) with that of the dragon as symbol in Asian culture of the life force, signifying good fortune. Dragons are “invested with powers of regeneration that permeate the natural world and renew the cosmic order. Th rough their infl uence, the seasonal cycles of the natural world are maintained.”

Artist Intent

Th e station is full of subtle cultural and phenomenal meaning, which may not be transparent to the everyday user such as the use of stainless steel discs mounted on the wall which protrude half an inch from the surface , shimmer with the movements of the air currents of the passing traffi c, an allusion to the way light and wind shimmer on the river’s surface.

Th e deep understanding of cultural signs and symbols at the station make it highly eff ective at placemak-ing and defi ning the nature of the community. As long as the community remains intact the station will continue to defi ne the diversity of the area accurately.

CAPITOL/RICE STATION Seitu Jones

“Poem by John Minczeki Civics lesson”

Located at the Minnesota State Capitol, the station is also within the popular Rice Street neighborhood and business district. Th is area is also a very diverse neighborhood along the corridor, and is increasingly home to more Asian and Latino residents.

Th e station art draws its inspiration from democracy and the Capitol for the artwork that will be featured at the station. Jones created 16 aluminum scrolls that will wrap the station’s light fi xtures and feature elements of Minnesota’s Bill of Rights translated into multiple languages. A poem written by John Minczeski is also featured in the station’s railings. “Folks getting off at the station all need to be reminded of Minnesota’s organizing document and that we have a whole slew of rights guaranteed under the constitution,” Jones said.

Artist Intent

Th e use of elements of the Minnesota Bill of Rights, is important to remind the community of our rights as citizens such as the freedom of the press and right to own property. Just as the capitol represents freedom and democracy, the station too makes it clear that we are all apart of something larger then ourselves. It makes it clear that transit, and equal access to opportunity (especially in relation to the light rail) is an important part of what our state is about, and what we value as a community.

Th e installation appears as though it may be successful, at least in regards to highlighting the stations rela-tion to the capitol and the state of Minnesota. In relation to the surrounding neighborhood, it may not necessarily do as well of a job, however because the area is known extremely well for the capitol, it does succeed in that regard.

(Art piece to be installed soon)

ROBERT STATION Janet Lofquist

“Ancient Waters”

Located within the state offi ce area it features a variety of state government programs housed near the state capitol. Th e state of Minnesota is the largest employer in the state, and therefore, many of the users of the station will be using the stop to access work opportunities.

Th e station art was inspired by the geological history of the ancient Glacial River Warren (approx. Course of the Minnesota River) and its tributary, the Mississippi River, fl ooding this valley area 12,000 years ago. It is thought that it created a waterfall larger than Niagara Falls near the station site. In the current context, adjacent to the Capitol, the images also allude to the sometimes fl uid, but also static nature, of communication

Artist Intent

Th e intricate mosaic pattern draws the attention of the user, and does a good job of giving off a crystallized feeling. Th e artist captured the feeling of stalactite icicles well and the station gives off a rather naturalized feeling.

Since the area is lacking any real community inspiration, the artist draws on the state of Minnesota itself for inspiration. It begins to help recall the history of the place and how the state initially came to be. In regards to placemaking, the art may not achieve that role, but since the stop will mainly just be used by workers, it may not need to have such strong community ties.

TENTH ST. STATION Janet Lofquist

“Ice Palaces”

Located between the capitol area and downtown St. Paul the area is an up-and-coming neighborhood featuring new mixed-use residential units. Th e nearby McNally Smith School of Music, MPR Radio and the Fitzgerald Th eater add to the cultural off erings of the area.

Th e station is located near the former site of some of the St. Paul Winter Carnival’s earliest ice palaces were built. Th e station remains a key gateway to downtown St. Paul and, by extension, the annual wintertime celebration.“Since this is the station closest to where all the events used to happen, I thought, ‘It’s got to have ice on it, baby,’” said Jahnke, a longtime Winter Carnival volunteer who lives in downtown St. Paul.

Minneapolis artist Janet Lofquist used tens of thousands of tiny pieces of glass and stone, in some ways resembling ice itself, to create a series of mosaics that depict St. Paul’s ice palaces dating from the 1880s, when the Winter Carnival began. Lofquist said it is fi tting to highlight such a unique part of St. Paul’s history and culture. “A lot of times we defi ne cities by something that’s unusual about them and this really is one of the more unique and special things about St. Paul,” she said.

Artist Intent

Th e installation is again very beautiful, similar to the artists work at the Robert station. Again, the art is recalling the past history of the place and uses that for inspiration to defi ne what the area was previously known for. In this regards, one can better compare and contrast the current state of the area, from what it once was.

CENTRAL STATION Roberto Delgado

“Downtown”

Located at the heart of downtown St. Paul, the station is aptly titled “central” to allow those traveling along the line to understand their relation to the city as a whole. Th e area also features colorful murals, and the new skyway connection from the platform up, adds to the color palette.

A unique canvas between tall buildings, capturing people and places around the station. Th e artist uses historic archival photographs and his own photo studies of the area to refl ect the demographics of each station’s extended neighborhoods. Th e photographs are applied to tiles inset into light columns and on large panels. Th e artist uses a technique of photographs grouped together and applied to tiles via airbrush and photo silk-screen.

Artist Intent

Th e imagery chosen for that station refl ects the hustle and bustle of the city and refl ects the constant motion of the everyday commuter. Th e color also adds to the vibrancy of the murals in the area.

Th e installation is similar to the artists other stations along the corridor, but the added urban imagery seems to play well in the downtown context. More imagery distinct to the downtown skyline, or symbolic buildings may have worked a bit better for the station concept in relating it back to its location.

UNION DEPOT STATION Myklebust and Sears

“Great Northern 4-8-4 Mountain Class”

Located in front of the historic neoclassical Union Depot, once home to over 250 daily train trips. Th e sta-tion has been restored to its former beauty, and is now a multi-modal transportation hub, including light rail, urban and express bus routes, Greyhound, Megabus, and Amtrak service. Th e station may be home to commuter rail in the near future.

Th e station will feature large carved black granite wheels that mimic those found on Great Northern’s Oriental Limited and Empire Builder trains. A stack of wheels used by transit vehicles in the corridor will be installed this spring (similar to the Westgate station).

Artist Intent

Th e light rail art to be installed is not the only prominent art at the station. Inside, Union Depot houses many older pieces of art as well as newly commissioned artworks. As part of the renovation costs, $1.25 million dollars was set aside to integrate artworks into the building. Th e depot is beginning to be called St. Paul’s living room, and has hosted a huge variety of community events, adding to the creativity and culture of the community.

While the particular art at the Union Depot light rail stop may not be as vibrant as the interior artworks, this might actually be what’s best for the station, as the artworks inside can begin to develop a sense of surprise and discovery.

(Art piece to be installed soon)

From left to right“Trainscape” by artists Amy Baur and Brian Boldon“Side Track” by artist Tim Prentice“Twin Waves” Artist Ray King

CENTRAL CORRIDOR ART University Avenue

Th e Central Corridor is quickly becoming THE artistic corridor of Minnesota, with an unprecedented amount of public art, artistic expression and pop-up art installations located throughout it. Th is was set into motion through the commission of artwork at each station, but it has expanded from there. Artist Wing Young Huie completed the “University Avenue Project” commissoned by Public Art Saint Paul to capture imagery of residents in the corridor, and then display them in storefronts all along Univeristy Avenue. Within the corridor is also Western Sculpture park, near the Western station stop, Forecast Public Artworks has also commissoned artists to complete projects all along the corridor as well.

Artistic Corridor

Th e organization Irrigate was alsso created which is an artist-led creative placemaking* initiative spanning the six miles of the Central Corridor Light Rail line in Saint Paul to bring together huge infrastructure development, and a high concentration of resident artists on both ends of the corridor. Th ese artists are a diverse ethnic and cultural mix among the neighborhoods, and a city with a strong track record of artist community engagement.

In addition a Central Corridor Public Art Plan was also created by the city of St. Paul to look at the entire corridor and the neighborhoods adjacent to the North and South to see how art can have a positive in-fl usence in those communities.

Th e area also contains a number of artistic organizations such as the Textile Center, Center for Hmong Arts and Talent, University of Minnesota Department of Art, Minnesota Museum for American Art, Springboard for the Arts, and two artistic neighborhoods, the Raymond Creative Enterprise Zone, and Lowertown.

BIBLIOGRAPHY Sources

Abbe, Mary, and Mary Abbe. Rolling to Rails: Community, History Shape Art for LRT; Proposed $2.8 Million in Art for Central Corridor Line Will be Unveiled Today.(NEWS)., 2009. Web.Th is newspaper article lays out the diff erent artists being commissioned for the project and gives me a good sense of why each was chosen and where they come from, which helps to answer my questions about how well the artists represent the community.

Art in the Stations : Th e Detroit People Mover. Eds. Irene Walt and Balthazar Korab. Detroit: Detroit : Art in the Stations, 2004. Web.Th is book will be used as a starting point for a design of how to layout images and information about each station and its art along the line. Th is book does a fantastic job at organizing the stations, talking about the artists considerations and providing images of the artworks.

Central Corridor Light Rail Transit Project : Supplemental Draft Environmental Impact Statement. Eds. Metropolitan Council of the Twin Cities Area, United States. Federal Tran-sit Administration, and United States. Federal Highway Administration. St. Paul, Minn.: St. Paul, Minn. : Metropolitan Council, 2008. Web.Th is document talks about the initial considerations of the central corridor lightrail project and what issues were initially taken into consideration. It will be helpful to see what the original intent of the art was, and if it has changed since conception of the project.

Finkelpearl, Tom, and Tom Finkelpearl. Dialogues in Public Art : Interviews with Vito Acconci, John Ahearn. Ed. Vito Acconci. Cambridge, Mass.: Cambridge, Mass. : MIT Press, 2000. Web.Th is book talks about the changes that have taken place over time and the increasing popularity of art today. It speaks directly with artists to get their take on the changes of the profession and where they foresee it moving forward. Th is will be helpful in learning the relevancy of public art today.

Keitel, Glenn, and Glenn Keitel. Scene from the Sidewalk : A Guide to Public Art in the Twin Cities. Cambridge, Minn.; Cambridge, MN: Cambridge, Minn. : Adventure Publica-tions, 2010. Web.Using this book as a base point for current art located around the Twin Cities will allow me to see where the majority of art in the community is located. Th is will give me a bet-ter sense of where art is located in the community and if it tends to be accessible to all.

Public Art Works : Th e Arizona Models. Eds. Betsy Jarrett Stodola and Phoenix Arts Commission. Santa Fe, N.M.: Santa Fe, N.M. : Phoenix Arts Commission, 1992. Web.Th is book explains in detail how the state of Arizona implemented a public art master plan and the topics and issues that were discussed to develop it. It also looks at the city of Phoenix in particular and how they were able to implement the plan in the urban environment.

Ronald, Lee Fleming, and Ronald Lee Fleming. Place Makers : Public Art that Tells You Where You are. Eds. Renata Von Tscharner, George Melrod, and Mass ). Townscape Insti-tute (Cambridge. Cambridge, MA. : New York: Cambridge, MA. : Townscape Institute ; New York : Hastings House, 1981. Web. (Ronald Lee Fleming) (author)Th is book talks about how unique characters of a space can be enhanced by public art helping to defi ne a space. It contains case studies from across the United States about the variety of media used in public art and its overall eff ectiveness.

Sharp, J., et al. “Just Art for a just City: Public Art and Social Inclusion in Urban Regeneration.” Urban Studies 42.5-6 (2005): 1001-23. Web.Th is article will help me to investigate how public art can be inclusionary/exclusionary as part of the wider project of urban regeneration. Th e paper examines examples in which public art intervention has attempted to generate inclusion. Th roughout, it is argued that the processes through which artworks become installed into the urban fabric are critical to the successful development of inclusion.

Guazon, T. M., and T. M. Guazon. “Creative Mediations of the City: Contemporary Public Art as Compass of Metro Manila’s Urban Conditions.” International Journal of Urban and Regional Research 37.3 (2013): 864-78. Web.Th is journal article describes artistic practices and strategies that shape community interaction. It describes how urban forms are oft en created by the many voices that inhabit the city. It shows projects that promote a view of art as an eff ective channel for ‘recentering’ — the identifi cation of a multitude of centers that endlessly fracture and shift , very much resembling the nature of cities themselves

Bertsche, Lisle. “Public Art and the Central Corridor: PlacePromotion and Creative Placemaking.” Cities in the 21st Century. Fall 2012.Web.Th is document by a member of Macalaster College is the closest document I have found that discusses the central corridor in particular and looks at art along the line. It will be interesting to read their research and determine what conclusions they developed which will provide a jumping off point for my own research.

Steainberg, Kaela. “Home is where the art is: Extreme Home Makeover on the Central Corridor.” Twin Cities Daily Planet. (NEWS)., 2014. Web.Th is article does a good job at describing the neighborhood grassroots eff orts to add public art to other areas besides just lightrail stations along the central corridor. It talks about local initiatives to add art to the corridor and the eff orts by a few community leaders to implement the various initiatives.

Garten, Cliff , and Bressi, Todd. “A Plan for Artistic Practice Central Corridor Public Art Plan A Living Plan.” July 2013. Web.Th is plan lays out the vision and plan for the future of art located along the corridor that the initial station art plan did not consider. It makes it clear that art is of value to this community and that they intend to have more of it in the area in the future.

http://centralcorridorart.wordpress.com/Th is website contains many resources that talk about the St. Paul Public Art plan. It talks about where the plan is now, what the future of the plan is, and how implementation has been going. It shows some of the key stakeholders that could help me identify who may have been involved with the initial station art discussions.

City of Phoenix. Public Art Facts & FAQs. n.dDescribes the success of the Phoenix Public Art Plan, and gives background information about its history.