CONCLUSION GUY LETRA vapate Millenniwm Park with the leading 0 ¢ Park with the leading in the Uni thetfollywood Bowlin Los Angeles; Merriweather wr eroncle formerly Concord) Music Pavilion outside San Francisco, th North Carolina; the N Riverbend Music Center in Cincinnati the Blossom neat Detroit the rand; and the Ravinia Festival north of Chic svar and supedative acoustics as wll ase Jay Pritzker Pavilion, None neorPo tes public art witha distinctive urbanism like Millenia Park bout culture, art, and urban spaceatthe mi jut what does Millennium Park reveal sean? More precisely, whatiethe relationship ofpublic art, pat phniepy and in urban cultural development at th 1 hybrid, vivid il state patronage 'e onset ofthe twenty-first cent ist, Millennium Park is a cultura ies, and globalization, As a cultral Jonship of art, corporate sponsorship, urban poli ark embodies no singular theme ve, Millennium Park presents £1 nthe early twen: landscape, the pi Like much “global” art in the postindustral ag kip es the ceria of beaux arts works ockefellet Center (0 even paradoxical, messages. I ac tieth century or landmark private the dhame “New Eronters and the March of CHIRON Aeiicelts oro gresesacaitiy or oalenstor tnpids the traditional theme’ of tmemoraive art. Moreover the a of MINDY, eschews modernism’s tendency qo emphasize te ats’ singular Bh self-expression. snenniucs pa offers socmtnind G07 ‘Mhrough the i, garden, and seue reat to and en the pavilion, bridge, foun ue with he sutouning ST san a reac servers Look into a sculpture, walk water, liste! pass through athe art still. privileges the indivi ‘like much of the mos Free Inert Beare large extent, ll we poor. “1e'scomleted PY projects like R ganized around park does not use of sale and color, gage in an archi surroul nd lake, Bach component was de tion from viewers. O1 ‘apraiie landscape, vdem movement), ork is incomplete, rectural dialo signed to stimulate into music cor cross a bridge ‘uethe viewer, not the believes Anish Ka cit” the person who is lookit9's training originates not in ee b shion design. Plensa has said, “As an aris, sm.” Indeed, each is acultural nomad ina sens, perpise, {intrigued bythe chaos ofthe world. They haveal spent mye, ‘challenging waditional conceptions of artistic and architectural ine alin exile,” Kapoor contends, “in a positive sense of cultural ambiguiy.» ‘This ambiguity relets their resistance ro formalism and efforts to classify ther ap Plensa and Kapoor are sculptors who reject being defined solely as sculptors. «1am ‘painter who isa sculptor,” states Kapoor. Similarly, Plensa insists, “Ialso believe thaeon ‘occasion the form prevents us from seeing the content, ... that beauty does not ne sarily ie in dhe form.” Gustafson dismisses claims that her organic forms ae rote i formal textile designs; rather, her landscapes originate in abstract and emotional e. periences, And Gehn’s resistance to traditional architectural form, for an architecure inspired by sculpture, is adefining element of his work.* ‘This antagonism to traditional categories is reflected by the artists’ incl ‘employ so-called ordinary materials in their earlier works. Each experimented with phernalia that was, at the time, conveniently at hand and considered cheap ot availa atlow cost. Kapoor used patterned pigment and stone. Plensa designed with casi considered to be a second-rate industrial material. Gehry's use of chain link, expo pipe, and corrugated aluminum made him a controversial figure in the 1970s.Gehry, such artistic transgression was no accident, "When you sat ou yan sxietoranarstith the Kind of world we're in, we react he states. The seu often Moore and Barbara Hepworth, or the architec of Rank Loyd Wight pud.inGehy’s opinion, “a kind of precious character to them.” But many artists inthe jgetwentieth century rejected that vision, "he world was chaotic, and the word aval ‘sero mewas very cheap,” remembers Gehry. “The buildings I goto look at were very expensive, cheap, and it was frustrating because I was trained to do fancy details and sft” IFthe building process (indeed the creative process) generates hammer marks 1 chain link, why fight if? Why not embrace it? “If that’s what the cultute produces, why aot ip it around and say, ‘okay, turn it into a virtue,” Influenced by artists ik Jas perlohns and Robert Rauschenberg who employed *junk” in their art, Gehty moved in diferent direction, “Itangered people,” he admit rent, and even many post-World War Il urban development programs (inspired planners like Robert Moses and Edward Logue) reflected: ion of a single plane’ architect, o artist. Quite the contrary with Millennium Park, The park wa planned” by series of committees, informal negotiations with mayor Richard M. D: poles ganizational talents of John Bryan and Ed Uhlir. The array of artist pla oe lecentralized, evolving process. John Bryan later ackné wledged that pr ium Park's design presented aesthetic challeny hae uld nclusion of so many grand works by promi artists in stch close Dros" produce a final product where “all the artists were screamint i ids," claimed Tosome critics, they are. Millennium Park is peure garden o np Bemstein ofthe New York Times. The crowds fli ar aenatans Pac 8 GiyChiago, made ta pleasant as any overcrowded ci br” Millen more like attending a splashy Pop Art exhibit than es are d de complained Jay Walljasper of the Project for Publie Spaces. "oN he strange and shiny objects, but your soul feels a bit und seared | Such criticisms were no surprise to architect Adri yen " 3 Grant Park was being transformed into “a sort of sculprus tribute somethint While Smith sympathized with efforts by wealthy civic leader" 0 yar an very important and meaningful to the city,” he nev = rt een ati et would have been more successful ifthe various enh vs eye-catching bandst™ fe throughout Grant Park, By placing a monumental sculPtUre>2” ore putintn eh, all the BO andan iregular bridge in one area, maintained S™ litte block ofthe park Geccltceee amcor bow he phn 8 704 gon Fenders those elements more powerfl. GTB PT TT gust a amount ofpublicar, much oft created by some OFTHE RFE works and vente centuries, Within a short walk of MED?