Mark Mendel Messages to the Public

Mark Mendel’s poem takes on a special resonance in the context of its specific urban location, Times Square. The third frame of Replanting the Hand Made Sky reads:

CHILDREN DAZED

IN RICH AIR

SEARCH IMAGES

FOR VANITY FAIR

Mendel, a stonemason and poet, began exploring the interaction between language and the thing it defines in 1974. He became drawn to circumstances where, as he puts it, “text and context lie down together” to create a new whole. His work surfaced as graffiti on streets; stenciled verses on barns throughout Maine, Minnesota, and Mississippi; nylon letters pulled through the sky; sunshine through stone; and, in New York City’s Times Square, as electric light.

Messages to the Public formed a key part of the Public Art Fund’s long-term commitment to media-based artworks. Running from 1982 to 1990, the show featured a series of artists’ projects created specifically for the Spectacolor board at Times Square.

As Russell Miller from Ohio newspaper The Toledo Blade explained in his article on February 19, 1984, “every month, a different artist presents a 30-second animation on the Spectacolor light board—an 800-square-foot array of 8,000 red, white, blue, and green 60-watt bulbs that dominates the Times Square vista. The spot is repeated more than 50 times a day for two weeks, wedged into a 20-minute loop of computer-animated commercials.

“Jane Dickson, a painter, was working for Spectacolor, Inc. as an ad designer and computer programmer when, three and a half years ago, she first thought to use the light board to display noncommercial art.

“‘I picked that title,’ she said of Messages to the Public, ‘because I thought the propaganda potential from this project was terrific.’ The board, she noted, was regularly used for ‘commercial propaganda.’

“Dickson sought help from the Public Art Fund, an organization based here and dedicated to taking art out of the galleries and placing it in the city’s streets and parks.”

Project Director of the Public Art Fund Jessica Cusick explained, “We’re trying to do art that’s timely, has a message, is visually potent and is trying to deal with the fine line dividing fine art and commercial art.”