21-03-2025
‘Work of art to rubble': Austin reevaluating public art program, addressing concerns
AUSTIN (KXAN) — After concerns were raised about elements of the city of Austin's Art in Public Places (AIPP) program, the city is reevaluating it.
'Created in 1985, by action of Austin City Council, the City ordinance establishes 2% of eligible capital improvement project budgets as a set-aside commitment to commission artists or purchase art for City-owned property and facilities,' the AIPP website reads.
As part of the AIPP reevaluation, city staff said they would look at the program's public-private partnerships, public art requirements and accessibility, use of funds, solicitation and artist engagement, barriers to local artists' participation, and stakeholder engagement.
'We appreciate the City Council's leadership in this effort and will provide updates on our assessment and program improvements. ACME looks forward to collaborating with the City Council, artists, and the community to uphold the integrity and impact of Austin's public art program,' said Austin's newly created Office of Arts, Culture, Music and Entertainment (ACME) in a Wednesday memo.
One set of concerns was about the artists selected for large-scale art contracts at the Austin-Bergstrom International Airport, leading to reevaluation of those contracts.
Three contracts for artwork at AUS, totaling $10.6 million, were initially scheduled for discussion at the March 27 Austin City Council meeting. But ACME withdrew those items from the agenda.
Agenda items on art at Austin airport removed from next council meeting
The three contracts would go to: Saya Woolfalk, Jim Campbell and Yvette Mayorga. According to biographies for those artists online, Woolfalk is based in New York, Campbell in San Francisco and Mayorga in Chicago.
'Phase I of the public art plan has been temporarily paused to ensure meaningful participation from Austin-based artists. ACME, in partnership with AUS leadership, is reassessing the selection process to better reflect Austin's unique cultural identity,' the memo said.
City staff said a revised process would be presented to the city council within a month.
This year's South by Southwest was the last before the Austin Convention Center closes for a massive expansion and reconstruction process. Some Austin artists raised concerns about what was being left behind.
Several pieces of art at Convention Center deemed 'infeasible for relocation'
'Four pieces were identified as infeasible for relocation due to site-specific design constraints, but artists were given the opportunity to reclaim their work where possible,' said an Economic Development Department public information officer earlier this month. 'For artworks that cannot be saved, we are documenting them to honor their cultural significance.'
Margo Sawyer, who made 'Index for Contemplation,' a piece of art identified as 'infeasible for relocation,' called the city's process 'very opaque' at a Tourism Commission meeting earlier this month.
John Yancey's 'Riffs and Rhythms,' which has been in the convention center since 1996 is another artwork set to be destroyed with the building.
'In contradiction to this assertion, I have secured a bid on my own and have a company lined up to do the installation for $40,000. However, there are currently no funds to pay this company,' Yancey told the Tourism Commission earlier this month. 'Consequently, on or about May 1 the city is still scheduled to reduce this valuable work of art to rubble and toss it into the dumpster like so much garbage.'
But ACME's memo appears to backtrack on that.
'ACME has taken immediate steps to preserve and relocate these pieces. Based on input from artists, stakeholders, and the Tourism Commission, ACME is actively exploring meaningful alternatives to ensure these culturally significant works remain accessible to the public,' the memo reads.
KXAN has reached out to the city of Austin to understand the change in stance. You can read the city of Austin's memo on the subject here.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
