What's Happening?
Philadelphia's iconic Keith Haring mural, 'We the Youth,' located in the Point Breeze neighborhood, is one step closer to receiving historic designation. An advisory group of the Philadelphia Historical
Commission unanimously approved the nomination, which, if granted final approval next month, would mark the first time an outdoor mural in the city has been historically designated. The mural, created in 1987 with the help of students from New York and Philadelphia, covers an exposed party wall at 2147 Ellsworth St. and overlooks a permanent community garden dedicated to Haring. This vibrant artwork, featuring Haring's signature dancing figures, is one of only four outdoor murals he completed that remains in its original location. Jane Golden, founder of Mural Arts Philadelphia, emphasized that murals are intrinsically linked to their location, and moving them would sever their historical and community meaning. However, Ori Feibush, part owner of the rowhouse containing the mural, has raised concerns about the mural's deteriorating condition, noting that it has partially separated from the underlying brick and the wall itself has cracks, which could necessitate interior demolition for stabilization.
Why It's Important?
The potential historic designation of the 'We the Youth' mural is profoundly important for Philadelphia's cultural landscape and the broader preservation movement. As the first outdoor mural in the city to receive such a status, it sets a precedent for recognizing public art as a significant historical and cultural asset, deserving of the same protections as traditional architecture. This designation would largely safeguard the mural from demolition, ensuring its longevity and continued presence as a community landmark. For the Point Breeze neighborhood, the mural is a source of pride and a symbol of artistic collaboration, having been created with local students. Its preservation reinforces the community's connection to its history and to the legacy of Keith Haring, a Pennsylvania native who achieved international acclaim. The debate surrounding its physical condition and the necessary preservation efforts also highlights the complex challenges of maintaining large-scale public artworks, particularly those painted directly onto existing structures, and underscores the need for dedicated resources and expertise in art conservation.
What's Next?
The nomination for historic designation will proceed to the full Philadelphia Historical Commission for final approval during its next meeting in October. If approved, the mural will gain significant protection against demolition, although the challenges of its physical preservation will remain. The condition of the wall and the mural itself are expected to be discussed in more detail during the commission's meeting. Ori Feibush's concerns about the mural's deterioration suggest that extensive conservation work will be required, potentially involving interior demolition of the adjacent property to stabilize the wall. The Neighborhood Gardens Trust, which owns the garden plot, and the owner of the rowhouse will likely be central to these preservation efforts. This process will involve careful study and planning to ensure the mural's long-term stability while maintaining its historical integrity. The outcome of this designation could also influence how other significant outdoor murals in Philadelphia and beyond are considered for preservation in the future.
Beyond the Headlines
The effort to historically designate the 'We the Youth' mural transcends a simple act of preservation; it elevates the discourse around public art's role in urban heritage. This move challenges traditional notions of what constitutes 'historic' by including a relatively contemporary artwork, acknowledging its cultural impact and community significance. The mural's creation in 1987 with student involvement speaks to its social dimension, embodying a spirit of collaboration and youth engagement that remains relevant today. The complexities of preserving a mural painted directly onto a building wall, as opposed to a standalone structure, highlight unique conservation challenges and the need for innovative solutions. This case could serve as a model for other cities grappling with how to protect their public art, especially as urban development pressures increase. Furthermore, the discussion around the mural's condition and the potential need for structural intervention underscores the ethical considerations of preserving art in situ versus relocating or extensively restoring it, emphasizing the importance of maintaining the artwork's original context and meaning.
