Yes, it’s true, London has more statuary per square mile devoted to dead kings, lords, generals and admirals than any other city on the planet. (One cathedral, Westminster Abbey, has more statuary than entire states in America.) It’s all very serious and patriotic, and of considerable interest to foreign visitors. Perhaps the most best known monument is that of Lord Nelson, victor of the battle of Trafalgar. Needless to say, monument space in a premier locale like Trafalgar Square is very precious — you can’t turn it over to just any old run-of-the-mill military hero like the dudes who led the Burma campaign or won the battle of Omdurman.
How is it, then, that a skeletal horse stands upon one of four plinths at such a revered location? Moreover, how is that the skeletal horse is bedecked with an electronic ribbon with a digital ticker tape-like display of the London Stock Exchange? Apparently, the work by Ekow Eshun, a German artist, is a commentary on the relationship between money, power and history. I’m not certain exactly is what is implied, but I’m sure it’s not meant to be flattering to those in power. Thus, has public art evolved from celebrating national institutions to questioning them.
I suppose one reaction to such art would be to declare it symptomatic of our civilization’s self-loathing — a sign of decay. There’s probably some sense to that view. But I have a second reaction. I find the statue amusing. It makes a nice change of pace from dead heroes. Google “whimsical statues in London” and you’ll find an extraordinary variety of creative works, such as the one at right of a jester holding up an elephant by its trunk. It’s all part of “cool Britannia,” part of what makes London such a fun, exciting, world-class city.
Virginia could use a few such public works itself. Of course, public art requires public spaces to display it. And Virginia suffers from a paucity of quality public spaces. Try putting this kind of art in a shopping center or subdivision. There aren’t many suitable locations. But if we want to build the kind of communities that inspire creativity and innovation, we need to open ourselves to the display of creative work even if, from time to time, it challenges the nexus of money and power. We want to see more wealth-creating entrepreneurs, and challenging the nexus of money and power is exactly what entrepreneurs do.
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