I have been contemplating why the Danish Arts Foundation’s fund for art in public spaces has been assigned to the Visual Arts Committee.
“In the Grant Committee for Visual Arts, one of our main tasks is to support art in public spaces. We support and initiate embellishments in various places such as nursing homes, swimming pools, community centers, schools, and public outdoor areas. Our committee also awards working grants to visual artists.” – Excerpt from the presentation page of the Visual Arts Committee.
Although municipalities and institutions can indeed apply for funding for projects executed by architects, craftsmen, designers, and others, it is the visual arts committee that assesses which projects should receive support. The committee consists of three visual artists—no craftsmen, no designers, no architects… and no representatives from other discipline-specific committees under the Danish Arts Foundation.
Is it possible for three visual artists to assess whether the embellishment outlined by the craftsman, designer, or architect should receive support or not? The logical answer must, of course, be no. It requires a particular expertise to assess the quality of individual projects and ensure diversity in the supported projects.
In the law on visual arts and artistic design, the following is stated:
§ 7. Commissioned works for public spaces are managed by the Grant Committee for Visual Arts under the Danish Arts Foundation. Art in public spaces can encompass art forms other than visual arts. The committee collaborates with other committees within the Danish Arts Foundation that specialize in different art areas for specific projects in public spaces.
The law itself signals that visual arts are prioritized higher than other fields. While there is a possibility for art in public spaces to also include craftsmanship and design, it is not a requirement.
I believe we can learn from our Norwegian neighbors. In Norway, craftsmanship is ranked on par with visual arts under the designation of art, and it is the organization KORO that selects artists for public art commissions.
In Denmark, there is still a clear division between the disciplines, which is why it also surprises me that there are not more interest groups represented in a committee that should support and initiate projects in our public spaces. It is also a fact that having the stamp of the Danish Arts Foundation is often necessary to secure funding from other foundations for an art commission.
It is positive that both the grant committee for craftsmanship and design and the grant committee for visual arts exist not only to award work grants but also to acquire artworks for loan to public spaces such as schools, hospitals, and more. Over the years, several works created by craftsmen have been acquired and displayed in public spaces, some of which are mentioned in Formkraft in this issue. However, I am surprised by the relatively small amount of funding allocated to our field.
New art consultants
I also wonder about the new art consultant programme that was implemented in 2019. In December 2022, a new team of consultants was appointed for a 4-year period, consisting of a total of 10 consultants, of which only 1 is a craftsman.
The consultants are supposed to collaborate with developers and provide advice on the selection of artists for decorative tasks in newly constructed or renovated public buildings. The Art Circular, which has been in existence since 1971, stipulates that 1.5% of the construction costs should be allocated for artistic decoration. (Source: Circular on Artistic Decoration of State Buildings)
But how many craftsmen and designers have actually been given such assignments over time? I only know of a few. The art consultants need to be well-informed about how craftsmen and designers can contribute!
Let’s take action!
How can craftsmen and designers make their voices heard and secure more decorative assignments in public spaces? Yes, we need to make ourselves more visible and showcase our abilities. However, if curators, consultants, and the committee responsible for assigning the tasks predominantly focus on visual artists, we can jump and leap all we want, but it won’t make a difference. Therefore, we must repeatedly address this issue with politicians and engage in public debates.
There are other examples where the political system favors visual arts. In municipal art councils, visual artists primarily hold positions. They do so, among other reasons, because they are endorsed, meaning they are members of the Danish Visual Artists association (Billedkunstnernes Forbund) or have graduated from one of the three art academies. Why is it not also an “endorsement” to be a member of DKoD (Danish Crafts & Design) or to have obtained a bachelor’s or master’s degree from a design school?
Could it be because the Danish Arts Foundation’s Project Committee for Visual Arts supports the municipal art councils? And their definition of who can be considered an artist is limited to visual arts. In the description of the municipal art councils, it explicitly states: “Note that craftsmen are not equated with visual artists in this fund.”
Thus, craftsmen and designers are excluded from the municipal (visual) art councils and the opportunity to participate in public art projects in municipalities. Why is it still called the “visual art council” and not just an “art council”? (Source: Law on Visual Arts and Artistic Design)
It must be a political decision to change the discourse and perception of who are the “real” artists capable of carrying out decorative tasks and look towards Norway, where the distinction is not as sharp.
The discussion on art in public spaces has been ongoing for decades, but now is the time for us as craftsmen and designers to manifest ourselves and show that we can fully undertake decorative assignments on par with any other artists. Fortunately, there are a few good examples of this.
We should not accept being neglected and undermined. Let’s take action!
Further reading
Dokkedahl, T. og Hellfach, S. interview: Mulighedernes rum: perspektiver på kust, kunsthåndværk og design i offentlige rum og byggede miljøer, 2021
Colberg, M. og Severinsen, H., At skabe en stemning, 2021
Rikkinen, A., Kunsthåndværk i byggeri: Hvordan kunsthåndværk kan bidrage til offentlige rum, 2021
Sylvester, S., At Skabe trygge rammer for forældre til børn på døgninstitutionen Fenrishus, 2022
Balle, N. Tekstilerne tilfører menneskelighed til vores offentlige rum, 2023
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Speakers Corner
Debate is a significant discipline that holds opportunities to shift attitudes, generate ideas, understand nuances, and broaden horizons.
Formkraft is relaunching the Speakers Corner category, which has also existed in previous journals on craftsmanship and design. The floor is open to craftsmen, designers, professionals, cultural figures, researchers, educators, students, and others with something to say. If you would like to contribute an article to the Speakers Corner, you can submit a proposal to Formkraft’s editorial team: formkraft@dkod.dk.
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Theme: Urban Space
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Where and how is contemporary crafts and design established in the urban space? What actors are involved? What lessons can we learn from history?
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