Robert Mangold and Charles Parson

You Might Recognize:

Robert Mangold-PTTSAAES-City of Loveland, Anemotive Tower #6-Athmar Public Library-City of Denver, Untitled (Trees I + II) Civic Center-City of Denver

Charles Parson-Earth Gate-Gold Strike Park, City of Arvada, Structural Unbelly-Gold Strike Park-City of Arvada, and Steeple II Skokie, Illinois

Public Art Average Success Rate:

1%-3%

 Rejected Project Proposal

Proposed Project Location:

Brighton Blvd./23rd Street-Collaboration between Mangold and Parson (date on the drawing?) for the public competition in Denver for the area of Brighton Blvd., which was resulting from the demolition of the existing 23rd Street bridge and the remodeling of that location’s whole section.

Concept:

Mangold and Parson, having an established dialogue and shared aesthetic, decided it would be “entertaining and engaging” for us to work together to address the vertical growth upwards of the Denver skyline in that area, creating a massive icon, competitive with the visual impact of the new baseball stadium’s presence, and to be seen from the “ Mousetrap intersection of I-25 and I-70”. The idea of repurposing/ deconstruction/ and a celebration of the past with a reconfiguration of the future, in which no verbal explanation would be needed was our goal. We walked all around, under, onto, the existing 23rd street bridge, marveling at the older technology and materials, the structural armature which was so visually stark yet complex and were influenced by the scale of it. We compared existing nearby buildings, traffic patterns, possible viewing times/ spans and places for both immediate and far away vantage points, aware of the scale of the bridge when standing next to it.

We then approached the contracted scrap yard, “DuWald Steel “ and had detailed discussion of how the demolition and ultimate recycling of the 125’ long bridge sections were to be removed; then discussing with them how we could potentially successfully maintain these larger structural components, adapting them to a reconfiguration into a distinct sculptural form. We felt this would have been seen as a “Spine of the Past”; massive, yet linear, holding its own place on the sky line; we even played with a projection of a further dramatization with a series of laser lines in the night sky, creating a connection to nearby top of structures , such as the light towers at Coors Field. This was inspired by how we all “connect” the arrangement of stars in the night sky into perceivable shapes and forms.

"I Regret to Inform You..." Artist Response:

Not surprised at all; fine. The drawing seen here was conceived with the knowledge that more structural components would eventually be integrated for physical reality.We knew it would be a reach. But we also in the past had found little confidence in the selection systems, at least up to that time, supporting the stretching of the definition of public art. We WERE surprised that we didn't get past the first round, quite honestly. After the notification of rejection ( generally in paragraph number two), over a delightful lunch we then saw it as having presented to us yet another way to further deepen and expand our shared creative dialogue… so it wasn't a “waste of time” at all… just a nice opportunity.

We both just went back into our studios with their ultimate deep artistic rewards. I can just speak for myself about rejection, as I had learned how to deal with “rejection” in many ways over the years. This process was whenever making applications for exhibits, shows, or to competitive commissions, grants, or other career opportunities, I would just apply to the number that I felt I could emotionally accept rejection from in a certain period of time (like dating had been?). I always found the reactions in this realm hard, initially, but then motivational, moving on with what my artwork next demanded… with newfound “freedom”.

Additional Thoughts:

I’m encouraged that more contemporary art IS being placed throughout the Denver metro area and state with its public funds. Also that the selection process seems to have become more well-rounded and inclusive. I also have come to understand the general public’s presence in the climate of art making, publicly, is of strong consideration, but that the most innovative and personal art generally still is made in the private studio sector. I’m also pleased to have developed my own private art retreat in the past 25 years, enabling me to continue to make and install many works at this stage of my career, not being limited by any cloud over my artistic motivation and direction.