One of the most
iconic images the city of Philadelphia has to offer is the iconic
LOVE sculpture, with its bold
red letters and tilted “O,” located in Center City's JFK Plaza.
What better way to make a statement in the “City of Brotherly Love”
than blowing up a sculpture that shares part of its namesake?
Contrary
to popular belief, Philadelphia's LOVE sculpture
is not the original. The original sculpture of the same title was
designed by American artist Robert Indiana as a Christmas card for
the Museum of Modern Art and has been on display at the Indianapolis
Museum of Art since 1970.
The
plaza, originally designed to cover an underground parking lot, was
without art for a few years after its completion in 1965. It was
dedicated to President John F. Kennedy in 1967 and received its LOVE
sculpture in 1976 as part of the
celebration of the United States' bicentennial.
Interestingly
enough, the sculpture was never intended to remain in the plaza and
was removed two years later in 1978. Philadelphia had grown attached
to the sculpture, however, and there was an outcry for its return.1 (Photo of Urban Archives article in citations)
 |
| JFK Plaza without its tell-tale sculpture after its removal in 1978, courtesy of Temple University Urban Archives. |
The
city finally received its wish when the Chairman of the Philadelphia
Art Commission, F. Eugene Dixon Jr., purchased the sculpture and
personally returned it to the plaza, where it has remained since.2
Since
its installation in Philadelphia, Indiana's LOVE has
grown into a global sensation. In an interview with international art
website ArtInfo, the
talented Indiana proclaimed himself to be a painter first and a
sculptor second.3
This is somewhat surprising, considering the fact that there are 39
known sculptures scattered across three continents—the United
States, Europe, and Asia—as well as two sculptures in additional
languages—Italian and Hebrew.
Even
if he considers himself to be a painter first and foremost, the
84-year-old Indiana confessed in that same interview that it is his
goal to erect a LOVE
sculpture
in every city in the United States.4
In
Philadelphia, Indiana's LOVE
has
never been anything short of a smashing success. It has always been
the main draw for JFK Plaza, otherwise known as a dank space covering
an underground parking garage that is a popular hangout for
skateboarders en masse.
The
sculpture has all but taken over the plaza. In fact, throughout most
of the city, the area is more commonly referred to as “Love Park,”
as opposed to its official name, JFK Plaza. The general consensus
among locals and tourists alike is that the LOVE
sculpture
is a part of Philadelphia and a must-visit. Using the popular review
website Yelp,
it is difficult to find a negative review.5
Philadelphia's LOVE sculpture after being re-installed, courtesy of Temple University's Urban Archives.
Philadelphia's
LOVE sculpture
has not received an overly abundant amount of exposure in major
feature films, but has had some interesting “screen time,”
including the video game Tony
Hawk's Pro Skater II.6
It
has certainly never been exposed to film in a way that public art is
featured in Fight
Club.
In that film, public art is used to make a statement; send a message.
In my experience, public art in films is almost never used to
destroy, but to build up.
Though they are sculptures on a much grander stage, pieces like the
Statue of Liberty and William Penn are placed in films because they
are recognizable. They are used to establish location and work
because of their popularity and recognition. “Lady Liberty” is a
symbol of New York, grandeur, and freedom. Penn is synonymous with
Philadelphia.
When
public art is shown in films, this is the way that it is primarily
used. That is what makes David Fincher's use of public art in Fight
Club so
interesting. He doesn't just go against the book. He basically throws
it out the window.
I
would follow in Fincher's footsteps. Philadelphia's LOVE
sculpture
is so engraved in its history that if you wanted to make a statement,
this is the way that it would happen. It would strike people deep
within their core emotionally, not only because of the obvious
ramifications, but because of the metaphorical implications as well.
Destroying a sculpture that literally says “love” in the “City
of Brotherly Love” would be a very powerful metaphor. It could mean
a loss of life or passion. It could show that something is missing or
fleeting from the city. The truth is that this would be an action
that could be interpreted in and endless number of ways, dependent
upon a personal attachment.
Indiana's
LOVE sculpture
is known around the world, but perhaps most meaningful in the city of
Philadelphia. If I were looking to make a statement, this would be
the sculpture that had to go.
___
Works Cited
1
Unknown
(Philadelphia),
"LOVE is Coming Back, But It's a Lot Cheaper," April 29,
1978.
2
Unknown
(Philadelphia),
"LOVE is Coming Back, But It's a Lot Cheaper," April 29,
1978.
3
Halperin, Julia. "Pop Art Icon Robert Indiana Talks Hope, Love,
and Shepard Fairey | Artinfo." Artinfo | The Premier Global
Online Destination for Art and Culture.
http://www.artinfo.com/news/story/749922/pop-art-icon-robert-indiana-talks-hope-love-and-shepard-fairey
(accessed March 26, 2013).
4
Halperin, Julia. "Pop Art Icon Robert Indiana Talks Hope, Love,
and Shepard Fairey | Artinfo." Artinfo | The Premier Global
Online Destination for Art and Culture.
http://www.artinfo.com/news/story/749922/pop-art-icon-robert-indiana-talks-hope-love-and-shepard-fairey
(accessed March 26, 2013).
5
"LOVE Park Frequently Asked Questions." ushistory.org.
http://www.ushistory.org/lovepark/faqs.htm (accessed March 26, 2013).
6
"Love Park." Yelp. www.yelp.com/biz/love-park-philadelphia
(accessed March 23, 2013).
Urban Archives Article
