Queen Charlotte: Public Sculpture with Whimsy - Essay Example

?Running Head: PUBLIC SCULPTURE Queen Charlotte Queen Charlotte: Public Sculpture with Whimsy Queen Charlotte: Public sculpture with whimsy Queen Charlotte Raymond Kaskey, 1990 (BonVivant, 2009) Background The sculpture titled Queen Charlotte that is placed outside the terminal building at the Charlotte/Douglas International Airport was created by artist Raymond Kaskey and presented in 1990 (Kratt 2009). Kaskey was also responsible for the four statues at Independence Square in uptown Charlotte. Charlotte North Carolina was named for Queen Charlotte Sophia who was the wife of King George the III who ruled in England from 1760 to 1820. The county in which Charlotte exists is named Mecklenburg County which is after the northeastern region of Germany where Charlotte was born, Mecklenburg-Strelitz. A young bride, the princess was only seventeen when she was married to the twenty-four year old king with whom she had fifteen children, including six daughters and nine sons. Two of her sons ruled as kings, with her granddaughter being Queen Victoria who was the longest crowned ruler of England (Queen Charlotte, 2012). The known description of Queen Charlotte is that she was a small framed woman who was gentle and kind. There are legends that tell that it was she who introduced the idea of the Christmas tree to the English people. The Christmas tree was a tradition of the German people. She played the harpsichord and was enamored with gardening along with having several dogs, her favorite named Presto (Queen Charlotte, 2012). With the known nature of the Queen it is likely that she would have liked the whimsy with which her portrait was translated into the sculpture that shows her balancing her crown on her hand as the wind of the airport presses against her body, bending her in an arch from her toes back towards the crown. She is honored in Charlotte as her coronation crown is the symbol that is on city flag as well as serving as the city emblem. Although most who settled in Charlotte were of Scottish-Irish descent, the colony most likely sought to honor the monarchy by giving honor to this gentle Queen. The Queen was married to King George III a year before the colony was established. The city of Charlotte is nicknamed The Queen City because of the association it holds to Queen Charlotte (Queen Charlotte, 2012). Descriptive The sculpture is the top piece of a fountain, which spans out below its pinnacle work with faces flowing with water from their mouths, with sprays of water focused back on the shaft on which she stands from the ground that is defined by the image of a multi pointed star. At four points of the star, the base has the letters N., E., W., and S., to indicate the direction that the point is facing whether it is north, east, west, or south. The sculpture overwhelms the visual, the rest of the fountain seemingly somewhat simplistic in relationship to the movement and action with which Queen Charlotte is represented. The piece of sculpture that Kaskey created is dynamic and in tension as the visual representation of the body is stretched, pulled by forces of gravity and wind as they work against one another. She is balanced with her legs close to one another on a ball, her dress pressing to her body in rolling folds as the wind pushes against her. An odd phenomenon presents itself as from the front she seems to have control, but from the side it is clear that her body is of balance and being pushed past her ability to hold onto her footing, but still she holds onto her crown. It appears as if she holds onto the crown right at the moment that she has lost her balance, her body bent at the waist and about to be pushed to the ground. Queen Charlotte Raymond Kaskey, 1990 (Bigstock, 2012) Queen Charlotte Raymond Kaskey, 1990 (BonVivant, 2009) The sculpture is inspired by the painting done by Scottish painter Allan Ramsey in 1762, which is a classic full form portrait with a serene and relaxed pose by the Queen. The Mint Museum is currently showing a series of pieces that reflect the artistic interpretation of the image of the Queen and associated objects. Kaskey took the serene concept of the painting and transformed it into an active pose for his piece of work. Capturing the spirit of the queen as she is remembered, he defined his vision through placing her in activity, the forces of nature against the hold she had over her people as she continues to hold onto her coronation crown. This symbol of the city pays tribute to her monarchy and the influence that her historic presence that she had over the naming and symbolism of the city. Interpretation Sculpture in public spaces is usually created to provide for a reflection of a common cultural element through which unity is formed. There are claims that public sculpture is a way in which to bring art out into the public, to enhance the public’s well-being. Glazer and Lilla (1987) discuss that public sculptures are “Monuments to the Mundane”, criticizing them for the public uproar that often results from placing such pieces within easy access as well as the aesthetic lack of value that they can have as they translate something of the mundane into an unnecessary comment on the local culture (p. 338). The sculpture of Queen Charlotte can be seen with the cultural context as commenting on the obvious history, but through its unique representation, the work creates a more surrealistic perspective on the mundane, the conflict of democracy and monarchy resolved, even as she holds her crown. The work could be interpreted to suggest that even as democracy came along and blew away the oppression of the monarchy, the city of Charlotte is inextricably held by the influence of the ‘crown’ and the way in which the culture of the city has maintained its ties to the old governance. Although this connection is not political, the romance of the idea of the young princess still penetrates the symbolism of the culture, creating a duality of ideals through both democratic principles and those of a kingdom. With the reflection of an almost ‘Alice in Wonderland’ aesthetic to the work, it can be seen as interpretive of the conflict between the current governance and the romantic storybook appeal of the monarchy. The dynamism with which the sculpture is created shows that there is an active component between the city and the Queen, her memory still active within the culture that gave her honor. Through the whimsical interpretation of this relationship, the power with which colonization had existed becomes a part of history rather than current power. Even with the power of the monarchy absent, she is still a part of how the city interprets its existence, the culture of the people still holding on to the memory of that which inspired its naming and development. That the Queen does not grasp her crown, but rather holds it aloft on the tips of her fingers suggests that that relationship is delicate, yet unwavering. Evaluative The artwork avoids the pitfalls that many pieces of art that are created for the public space are inclined towards committing. The first is that it can be viewed from the point of view of most people without them being either bored or confused by the work. According to Glazer and Lilla (1987) “Today’s public sculpture, like the rest of contemporary art, is often defended for its intellectual value, for what the piece says or expresses, rather than what it looks like” (p. 338). This piece does not have that alienation from public understanding that many contemporary pieces have, but also does not have a lack of intellectual commentary. Onlookers can see the piece in reference to their level of understanding. A child can see the piece and be amused as much as an adult may see the piece and feel its reflection of the city’s association to monarchy without its governance. The nature of the work expresses a complexity of social elements that are a part of the local culture. The piece creates the connection between its historic colonization with the present governance through an interpretation that is still respectful, but with a sense of ironic tension in the piece. The piece has a delightful quality that can diminish criticisms that it might seem disrespectful, taking on the childlike innocence of fairytale alongside the representation of the sophisticated themes of community, history, and culture. Placement Through the criticisms of Glazer and Lilla (1987) of public art and sculpture, this piece provides for a compromise without the art itself being compromised. The piece fulfills its position within the public domain with little to no criticism of its existence because of confusing or poor design. This is not to say that no debate can be held against the sculpture, but it does for a variety of positive reflections that exceed many pieces of public art. Public art was not well accepted in previous decades, Charlotte taking a long time to embrace the idea of placing meaningful sculpture in the public venue. This is one of the pieces that represent a shift in public acceptance of works of art placed in spaces of public consumption (Kratt, 2009). In placing this piece through identification with its space, within an airport, through the concept of air and wind in relationship to the Queen, those who placed the piece found within its form a symbolic representation of the space where it was positioned. The piece can be seen as an introduction to the city as those who come into the airport see the work as they exit or enter the terminal. The work has a historic value, but even without knowing its historic references, it comments on the movement of air and the power that the movement of air can provide. The piece works on various levels as it relates to its placement in the airport, creating a multi-leveled potential for interpretation from all types of viewers of the work. The sense of humor that it reflects lightens the overall acceptance of the culture, giving the viewer an introduction to a warm and jovial concept through which to gain perspective on the city. In choosing this piece of sculpture and in placing it outside the terminal of the airport, the piece was specifically designed for both its reflection of the local culture and the intended place where it sits. The piece appears to have been designed with all the elements of its location taken into consideration, accepting a variety of points from which to interpret the local culture and its location at the airport. The goal of this work would appear to have been to make a commentary on local culture, creating a welcoming piece of work that was innovative, whimsical, and accessible. The piece is both publically accessible, as well as visually accessible as it can be seen by many and enjoyed on a variety of levels. The local values of the community are discussed in reference to governance and history, as well as through providing for a piece of work that is entertaining as much as it is well presented. Conclusion The piece of sculpture that resides outside the the Charlotte/Douglas International Airport was created by artist Raymond Kaskey called Queen Charlotte is a work that succeeds on a multitude of levels. As a piece of art that is within the public space, it is joyful and expressive of a sense of humor, giving the city a delightful image upon which travelers can start of end their assessment of the city. The piece is accessible to all levels of art appreciation and has little that is controversial, without being mundane. The design was a successful choice when it was considered for this placement as it represents its location as well as something significant about the local culture. Through viewing this piece, it is clear that not all public sculpture is stiff or so serious that it defies enjoyment. This piece embodies a great deal of meaning while maintaining an element of enjoyment in viewing it. As a sight within the city of Charlotte, it is a successful and attractive piece that can draw the interest of tourists as well as those who wish to explore the local history of their city. References Bigstock (2012). Bigstock Retrieved from http://www.bigstockphoto.com/image-3410501/stock- photo-queen-charlotte-statue-full BonVivant. (2009). City-data. Retrieved from http://www.city-data.com/forum/photog raphy/651916-statue-thread-5.html Glazer, N. & Lilla, M. (1987). The public face of architecture: Civic culture and public spaces. New York: The Free Press. Queen Charlotte (2012) Charlotte Tour. Retrieved from http://www.charlottetour.o rg/files/Download/QUEEN.pdf Kratt, M. N. (2009). Charlotte, North Carolina: A brief history. Charleston, SC: History Press. Read More