Next up we're back in industrial North Portland for another installment in the ongoing public art series. This time[1] we're taking a look at Unseen Worlds (2002) by artist Fernanda d'Agostino (whose work has appeared here a lot). This comes to us via Portland's Bureau of Environmental Services, specifically their Columbia Blvd. Wastewater Treatment Plant, which is one reason the mainstream guides for tourists don't tell you this is a must-see. (C'mon, stop snickering for a minute and let's pretend we're all serious people having a serious chat about capital-A Art for a minute.) Here's the official RACC description, which is repeated across several pages covering different sub-categories of the art here:
The artworks along this path depict various aspects of the wetlands and reparian environments of the site. You’ll find images of microorganisms and macro invertebrates used to test water quality. The paving inlays hint at the tidal nature of the slough. The “Dendritic Bridge” frames a view of the intersection of industrial and natural landscapes and you’ll find a bird list for the site beneath your feet. Birdhouses provide bird habitat and the perches reference feathers, beaks and some of the tools used in the sewer treatment plant. Looking through the three holes in the “Periscope Stone” you’ll see the favorite perch for Bald Eagles that frequent the park in early spring, the composter at the treatment plant, and the biggest snag (favorite all round habitat) on the site.
So why is this here? The art's located along a side branch of the Columbia Slough Trail skirts around the east side of the plant. On the south end, it almost[2] connects you to the Peninsula Crossing Trail, Evidently either the trail, or the Inverness bridge, or the Big Pipe, or some other capital project here generated enough Percent for Art money to fund some art and, I guess, give trail users something less sewer-y to look at and think about on their way through the area. Which I guess is nice if you're a squeamish grownup with delicate sensibilities, which covers just about everyone here. I mean, the agency's name -- "Bureau of Environmental Services" -- is a euphemism, and they would apparently be thrilled if the public saw them as the agency that's somehow in charge of herons and salmon and rain, and their engineers spend their days working on the city's mystical bond with same. Or something along those lines anyway.
But that's just one way to approach the problem. Next time BES has a major capital project here -- and there's bound to be another one sooner or later -- I hereby propose we put the city's eight year olds in charge of the whole public art program. I mean, grade school kids generally, but especially the eight year olds. And instead of no-fun grownups guiding them toward another batch of the same old tasteful nature art that everyone's supposed to like -- instead of doing that we really lean into whatever the eight year olds come up with, just this once. Obviously in general this is no way to run a city, and calling them "subject matter experts" is kind of a stretch, but they at least spend a lot of time giggling about the topic.
Also it's not like this would be unprecedented in the wider art world, although most of the examples that come back in a quick interweb search seem to be unintentional.
- The, ah, tightly coiled new W Hotel in Edinburgh, Scotland. I mean, it's Scotland -- even if people thought it looked like a local walnut-chocolate snack, or a "haute couture blindfold", rather than a big pile of poo, they wouldn't admit to it.
- Meanwhile in Philadelphia (possibly America's answer to Scotland), the local art museum acquired one of those giant Claes Oldenburg sculptures in 2011. Paint Torch is a 51' high tilted paintbrush, with a nearby blob of red paint, celebrating the art of painting. And that's all it was until one day in 2015 when artist Kid Hazo happened along and attached a grinning mouth and two big googly eyes to the paint blob, which was instantly and utterly transformed. In an age of omni-surveillance and zero tolerance everything, this is the only kind of art intervention that works: It can be undone in seconds, but can't be unseen no matter how much time elapses.
- Meanwhile in Boston, in 2023 the city welcomed The Embrace, the city's weird but official new MLK memorial. Said to be inspired by a photo of MLK hugging Corretta Scott King shortly after being awarded the Nobel Peace Prize, the $10M giant-sized art tries and fails to show just the hug in a sorta-minimalist way by depicting a tangled nightmare of disembodied arms and general biology, inspiring scatological thoughts over on Reddit.
- San Jose, California's 1994 statue of the feathered serpent god Quetzalcoatl depicts him coiled like a rattlesnake, and seen from a certain distance bystanders tend to just see the coiled shape and draw conclusions. General consensus seems to be that even if it was a poo emoji statue, it's still an upgrade over the statue it replaced, a pioneer so odious he was canceled way back in 1988.
- In Chicago, an artist made a fountain depicting a semi-realistic pile of the stuff, even labeling it "SHIT FOUNTAIN" to remove any lingering doubt. Seems he created it to criticize his neighbors for not cleaning up after their dogs.
- Meanwhile in Rotterdam, back in 2018, a local art museum hosted a Vienna-based art collective and their giant photorealistic logs of poo. They may have realized, late in the process, that this might not be quite enough to get a rise out of jaded Dutch museum-goers, and added another conceptual bit to the mix:
Now, the sculptures rest on Persian rugs and are stared at by visitors wearing naked suits featuring various shapes and sizes of male and female sexual parts.
For Gantner, the naked suits are “a gift to visitors” that enhance the exhibition and their own experience of it.
“You step into the costume and you immediately transform into another being. People don’t know anymore what your job is, if you’re rich, poor, male or female, so you forget a little bit about all these rules.” - Which brings us to Orlando, Florida, where we meet the most crass one of all, a giant walk-in inflatable poo emoji that was in town temporarily to promote some sort of deodorizer spray.
Since I'm way too old to submit ideas to the contest I just suggested, and I'm also not an official artist and ineligible if they did a boring regular art proposal process, let me just tell you my idea. You know how grand entrances to important buildings are often flanked by art of guardian animals, right? Things like sculptures of lions sitting outside library entrances. Imagine a pair of giant stainless steel poo emojis, grinning as they flank the main entrance to the plant. Coiling in opposite directions to maintain classical symmetry, and bidding the visitor welcome to where the magic happens.
You might have noticed that the photos in this post are a bit subpar and few in number. If you look closer you might notice they were taken wayyy back in 2014. This is another one of those posts that lingered around in drafts for ages because I couldn't figure out what it was called, and without a name I don't even have a title for the post, and the rest of the research gets pretty difficult, too, and I'd basically given up on this one but never got around to deleting it. Then a few days ago I was poking around on the revamped RACC website again and noticed entries for the art next to the sewer plant, and I will swear up and down and three times sideways that these database entries didn't exist until quite recently. So this time I couldn't move forward because the website that's supposed to be the single source of truth about these things just sort of neglected to mention the art here, for unknown reasons.
