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PUBLIC ART
- 2019.03.06 PUBLIC ART
Yurikamome Shinbashi station public art
“Four Seasons of Tokyo Bay” Unveiling
PUBLIC ART
TOP 
PUBLIC ART
2019.03.06 PUBLIC ART
Yurikamome Shinbashi station public art
“Four Seasons of Tokyo Bay” Unveiling
Promote Public Art
About Public Art
![Sendai Airport [Kinka Doji Riding the Waves Accompanied by Fujin and Raijin] Original drawing by OTOMO Katsuhiro, manga artist (Ceramic relief)](/en/wp-content/themes/jptca/images/art1-01.jpg)
Public art refers to the artistic and cultural productions intended to be installed and displayed in public spaces. The public art movement began in Sweden and the U.S. during the Great Depression of the 1930s. Its purpose was to provide jobs for artists who were having difficulties making a living. During the post-war era of the 1950’s, France enacted a law stipulating a one percent addition to the construction costs of all public buildings for the purchase and installment of works of art. In the 1960’s this policy, called “percent-for-art”, became a national as well as a local law, and eventually took root as a powerful cultural system in the U. S. Today, in China, Taiwan and Korea as well as the West all maintain public art policies, though the actual percentage set aside for artistic and cultural works differs from country to country.
by OTOMO Katsuhiro, manga artist (Ceramic relief)
Aiming at the Popularization of Public Art
Over the nearly 70 years activities, more than 500 pieces of public arts have been produced
Over the nearly 70 years activities, more than 500 pieces of public arts have been produced
We at the Japan Traffic Culture Association have been working to establish a public art movement here in Japan. We look forward to seeing stained glass, ceramic reliefs and sculptures in public spaces such as railway stations, airports, schools, hospitals, corporations, theaters, and every sort of municipal facility. We look forward to a society where works of art exist in the everyday public life, as if they are there as a matter of course. Public art plays a significant role in the public landscape. Herbert Read, british poet and critic, once commented “that it is not art, artists, or conscious art appreciators we lack, but a public that unconsciously appreciates what art can do”. Our association’s aim is contribute to and increase this kind of public.
Gallery
It has been our honor to have the cooperation of many noted artists who have provided original drawings from which our public art projects are created. Among these are many artists who work in traditional Japanese styles: Ikuo Hirayama, Hideo Nishiyama, Yuki Ogawa, and Fumiko Hori. Others are Gyoji Nomiyana whose style is Western, Koji Kinutani who does frescos in a modern style, the sculptor Takenobu Igarashi, and the president of Tokyo University of the Arts, Ryohei Miyata, who does metal work. And there are many others.
It seems only natural for artists of every genre to enjoy having their work on public display where everybody can see and appreciate it. Problems of designing for particular spaces and color choices that must take into account various lighting conditions are interesting challenges. And, the fact that the works created for a public space may remain there forever must be especially gratifying.
Some Major Association Achievements
![Fukushima Airport [Utopia] HORI Fumiko](/en/wp-content/themes/jptca/images/art3-01.jpg)
Installed public arts mainly in the stations and the airports
The first public work we facilitated was a large stained glass piece titled “The Creation”. It was crafted from an original drawing by the Western style painter, Ichiro Fukuzawa and installed in 1972. You can see it on the front wall landing of the big stairway leading from JR Tokyo station’s main concourse. From that time we have continued to install public art throughout the country from Hokkaido down to Ishigaki Island in Okinawa.
By 2014 we had installed our 500th piece. It was a ceramic relief from an original drawing by Fumiko Hori, the traditional Japanese painter. It’s called “Utopia” and can be seen in the Fukushima airport. A year later we installed our 508th piece in the Sendai airport. It is a huge ceramic relief with a suitably long title “Kinka Doji (a child of the Kinkazan Island, a local hallowed ground) Riding the Turbulent Waves Accompanied by Fujin (a wind god) and Rajin (a god of thunder)”. This time the original drawing was by the respected manga artist, Katsuhiko Otomo, who also supervised the production process.
Appeal to the government
In 2000 a number of well-known Japanese intellectuals and artists-among them the master Japanese style painter, Ikuo Hirayama-gathered to discuss and put into shape a “Proposal Regarding the Promotion of Public Art.” It was submitted to Hajime Morita, then head of the Transportation Ministry. Our association’s role was to coordinate and compile the proposal which urged the government to promote and popularize public art and play a leading role in legalizing “1% for art” principle in public construction costs. We take every opportunity that presents itself to promote social interest in public art.
Research of the Glaze
Among the ways the association supports public art is its connection with the Creare Atami Yugawara Workshop, established in 1981. In a corner of the workshop research is being conducted on ceramic glazing, an essential step in creating ceramic reliefs. Today the workshop maintains about 5000 different glaze colors by means of glaze mixing and temperature control, enabling us to respond to any color requested by the artists and craftsmen working on the reliefs we install.
1% for Art
1% for Art in Japan
High cultural power make the country rich. It bring added value for the manufacturing and cultivate future growth. As common value of society, promotion of the art and culture is very important and to let it take root in the society, Japan Traffic Culture Association is encouraging the idea to legislate “1% for Art” to oblige one percent of the construction cost of public building is allocated towards art and culture.
High cultural power make the country rich. It bring added value for the manufacturing and cultivate future growth. As common value of society, promotion of the art and culture is very important and to let it take root in the society, Japan Traffic Culture Association is encouraging the idea to legislate “1% for Art” to oblige one percent of the construction cost of public building is allocated towards art and culture.
About 1% for Art
One percent of the construction cost of public building towards art and culture
“1% for Art” is an idea whereby one percent of the construction cost of public building is allocated towards art and culture that is associated with the building. It started in France in 1950s and, in 1960s this idea was successively legislated in the Western European countries and United-States. In case of US, it is not limited only narrow arts and culture but also theater arts and dance performances are accepted. In recent years, it has been legislated in South Korea and Taiwan as well. “1% for Art” has closely connected with public art and it is the driving force to popularizing and promote the public art.
Message
“1% for Art” bring what to us
“1% for Art” bring what to us
TAKI Hisao
President of Japan Traffic Culture Association
With social maturity in Japan, increasingly the Japanese public has come to recognize that we need to move beyond the materialistic values that set economic growth as our highest aspiration. As we pondered what our national vision should become if we are to establish a more ideal society, we came to the conclusion that this vision must be reflected in our art and culture. To embodied this vision, I would like to ask legislation of “1% for Art”. “1% for Art” is an idea whereby one percent of the construction cost of public building is allocated towards art and culture that is associated with the building.
If it is realized in Japan, the impact on the society is huge. First, reinforcement of the cultural power. Second, it would be the driving force of public art. And finally, it will be a sort of declaration by japanese government to place the art and culture in the basics of the country. To be a cultural country both in name and in reality, I would like to call widely for legislation of “1% for Art”.
We also support “1% for Art”
MATSUURA Koichiro
Former Secretary General of UNESCO
KATO Hisatake
Honorary Professor of Kyoto University, philosopher
ISHIDA Yoshio
Inspector of East Japan Railway company
KUMA Kengo
Professor of Tokyo University Postgraduate School, architect
HORI Fumiko
Japanese-style painter
Interviews
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Japan needs a One-Percent-for-Art Program
Mr. IGARASHI took advantage of “1% for Art” both in the United-States and in Taiwan to produce his aIGARASHI Takenobu Sculptor/ Former President of Tama Art University
