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New York City Art Commission

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Sometimes listed as Public Design Commission of the City of New York.

 

Description

The Public Design Commission of New York "reviews permanent works of art, architecture, and landscape architecture proposed on or over city owned property1".

Key Dates in Preservation Activity

1898 - Creation of the New York City Art Commission

History

The New York City Art Commission was created in response to the City Beautiful Movement after the 1893 World Columbian Exposition in Chicago. The fair established the idea that cities could be beautiful by regulating public art and architecture. John Merven Carrere, a partner in Carrere and Hastings, had a vision to beautify New York City by creating an agency that would approve designs for public art and architecture. In 1896, Carrere proposed this idea to the Fine Arts Federation, who agreed that such an agency was needed.

In 1898, the City Charter Commission drafted a new constitution when the boroughs of Manhattan, Brooklyn, Queens, the Bronx, and Staten Island were consolidated into one municipality. In order to harness protection for an Art Commission, Carrere encouraged city officials to implement the new agency as part of the city charter. The Art Commission was to consist of ten pro-bono members: the mayor of New York City; the Presidents of the Metropolitan Museum of Art, the New York Public Library, and the Brooklyn Institute of Arts and Sciences; a painter; a sculptor; an architect; and three laymen. Although the Art Commission was chartered in the new constitution, its powers were limited. The agency could only regulate artwork that was "commissioned by the government or donated to the city2." In 1901, the city charter was reformed, and a clause was included to allow the Art Commission to "veto any design that cost over a million dollars3."

Things changed substantially when Seth Low was elected as mayor of New York City in 1902. Already a member of the Municipal Art Society, Mayor Low allowed the Art Commission to review all designs for public works in the city. In 1913, the Art Commission developed a list of 50 structures that had historic and architectural significance4. The Art Commission was also responsible for regulating the city's fixtures and streets, including lamp post designs, street signage, water fountains, and fire hydrants5.

In the 1920s, the Art Commission had a reputation for preferring Beaux Arts style architecture over modern designs. During the Great Depression, the Works Progress Administration (WPA) and Federal Arts Project (FAP) were created to put unemployed artists to work. These projects, in turn, influenced the Art Commission's openness to more "progressive" public artworks created by younger artists6.

During WWII, the focus on public art shifted to public architecture due to the economic boom and building projects. Furthermore, the fiscal crisis of the 1970s pervaded over the city's agenda as the concern for public art diminished. Under the Koch administration, the economy was starting to bounce back, which resulted in a resurgence of the Art Commission's concern with public art7. The Art Commission hired interns to inventory the city's art collection, and by 1979 the city had acquired 5,500 pieces of artwork8.

In 2008, Mayor Michael Bloomberg officially changed the name of the Art Commission to the Public Design Commission of the City of New York. The Commission now consists of 11 members, and now includes a landscape architect 9.

Involvement with Preservation Campaigns

In terms of historic preservation, the New York City Art Commission represented the earliest efforts for aesthetic regulation. Since the agency was chartered by the city, the Commission had the legal means to approve public art and architectural designs before the passage of the Bard Act and the New York City Landmarks Law. These ideas had been percolating among civic activists including Albert Bard and art organizations such as the Municipal Art Society.

The List and Vision of Francis Gallatin
In 1913, the Art Commission composed a list of 50 structures that held historic and architectural merit. The list was created in part to protect structures that were in threat of demolition. Frank Cousins, reputable historian and photographer, was hired by the Art Commission to photograph the structures. Although it is unclear whether or not this list inspired the 1950s list of aesthetically and historically significant sites developed by the Municipal Art Society (MAS), it certainly opened the dialogue of preserving important buildings in New York City10. Parks Commissioner Francis Gallatin had a vision for developing a commission that would have the responsibility to designate historic resources for protection. In addition, he felt the Art Commission should be granted the power to “veto the designs of buildings” that did not “harmonize” with their historic counterparts11. In 1923, Gallatin organized a meeting with Mayor Hylan, however, his plans never came to fruition. Nevertheless, his prescient ideas for a landmarks law and a commission planted the seeds for a growing movement seeking to pass legislation to protect historic structures.

Brooklyn Battery Bridge
Robert Moses, Parks Commissioner and member of the planning commission of New York City, had a tenuous relationship with ACNY. The commission was initially relieved when he was appointed as Parks Commissioner because he shared many of the aesthetic inclinations as the board. Nonetheless, Moses often grew impatient with the Art Commission's process of review, which he often felt was unnecessary for less significant parks related projects. Tensions between ACNY and Robert Moses culminated when he announced plans for a new bridge that would connect Lower Manhattan to Brooklyn. The proposal also sought to change the design of Battery Park. Civic activists protested Moses' plans, arguing that the bridge would mar the beautiful views of the city12. Moreover, they urged ACNY to halt Moses plans. Since the location of the proposed bridge was at the entry point of Manhattan, it was under jurisdiction by the US War Department; therefore, the Art Commission held no regulatory power over its construction13. Secretary of War Harry H. Woodring rejected the bridge proposal because the bridge threatened security measures14.

Castle Clinton
Spurned by the rejection of Brooklyn Battery Bridge proposal, Robert Moses launched an attack on Castle Clinton. He claimed that in order to build the Brooklyn Battery Tunnel, leading from Brooklyn to the tip of Lower Manhattan, Castle Clinton would have to be demolished. His announcement of the impinging demolition only galvanized preservationists, including George McAneny, who relentlessly fought for its protection. In 1947, Mayor William O’Dwyer requested authorization for the demolition of Castle Clinton from the Board of Estimate. The Art Commission, which had previously taken a back seat to public building regulation, was quick to act in the case of Castle Clinton. The Art Commission argued that in order for the fort to be demolished, it must first have the consent of the Art Commission since it was considered a “work of art15." In 1949, the Senate passed a bill that gave Castle Clinton back to the Federal Government. A year later it became a National Monument16.

Archives, Personal files, and Ephemera

Archives and Photograph Collection
Public Design Commission of the City of New York
City Hall, Third Floor
New York, NY 10007
(212)788-3071

 

  • 1. "About the Design Commission. "Public Design Commission of the City of New York. http://www.nyc.gov/html/artcom/html/home/home.shtml
  • 2. Gilmartin, Gregory F. Shaping The City: New York and the Municipal Art Society. New York: Clarkson Poter, 1995. 22.
  • 3. Gilmartin, 24.
  • 4. Wood, Anthony C. Preserving New York: Winning the Right to Protect a City's Landmarks. New York: Routledge, 2008.
  • 5. Bogart, Michele H. The Politics of Urban Beauty: New York and Its Art Commission. Chicago: University of Chicago Press, 2006. 61.
  • 6. Bogart, 158.
  • 7. Dunlap, David. "The Art Commission Gets A Truer Name." New York Times 22 Jul 2008
  • 8. Dunlap
  • 9. McGill, Douglas. "Uncovering New York City's Art Collection."  New York Times. 24 Sept 1987
  • 10. Wood.
  • 11. Staff. "A City Beautiful Is Gallatin's Hope." New York Times. 7 Jan 1923.
  • 12. Bogart, 195-196.
  • 13. Bogart, 195-196.
  • 14. Caro, Robert. "And When the Last Law Was Down..." The Power Broker: Robert Moses and the Fall of New York. New York: Random House, 1974.
  • 15. Gilmartin.
  • 16. “Aquarium Becomes A U.S. Monument; Action on Castle Clinton at Battery Taken After City Deeds Site to Government..." New York Times, 19 Jul 1950.