Jiahong Ren-Public Art in Pasadena

Public Art in Pasadena

Phase 1: Site selection

I chose the city of Pasadena because it is right next door to where I live in Arcadia, and I spend a lot of time there. Pasadena is famous for its rich history, beautiful architecture, and very active local community. I wanted to choose a site that has a mix of serious historical monuments and fun, community-driven installations. Pasadena perfectly shows how public art can be used to honor important civil rights heroes, but also how everyday people can literally put their own sense of humor into the streets. 

Phase 2: Field work

Pasadena Robinson Memorial Location: Centennial Square, 95 N. Garfield Ave, Pasadena, CA (Right across from Pasadena City Hall).

Artist: Ralph Helmick, John Outterbridge, and Stuart Schechter.

Theme/Who is Represented: This memorial consists of two massive 9-foot-tall bronze busts of Jackie Robinson and his brother Mack Robinson. It represents their legacy as African American athletes and civil rights role models who grew up right here in Pasadena. A really cool detail is that Jackie is facing East (toward Brooklyn, where he played baseball), while Mack is facing Pasadena City Hall because he stayed and worked for the city.

Materials: Bronze. If you look closely, there are bas-relief images and quotes carved directly into the texture of their hair.

Created: November 1997.

Sponsors: Funded by the Robinson Memorial Foundation, the Robinson family, and the City of Pasadena.

Inscriptions: There are multiple quotes and images carved into the bronze detailing their lives, athletic achievements, and fight against racial barriers.

Community Reactions: The community deeply respects this memorial. In a city that has changed and gentrified a lot, this sculpture ensures that the history of Black residents and their struggles/achievements are not erased. It stands loud and proud right in front of the local government building.

"Fork in the Road"

Location: 200 Bellefontaine St, Pasadena, CA (Where South Pasadena Ave and St. John Ave split).

Artist: Ken Marshall (and Bob Stane).

Theme/Who is Represented: It is a literal 18-foot wooden dining fork standing right where the road splits! It represents the quirky and humorous identity of the local residents.

Materials: Painted wood.

Created: Originally put up in 2009.

Sponsors: Self-funded by the locals. It was initially unauthorized (guerrilla art).

Inscriptions: None.

Community Reactions: This is where it gets interesting. Originally, the artists placed it there without the city's permission. The city actually removed it because it was a "safety hazard" and not permitted. However, the local community loved it so much and demanded it back. The city eventually gave in, and it was officially reinstalled in 2011. Now, the community uses the giant fork as a landmark to host local food drives for charity.

Phase 3: Critical Analysis

When looking at these works, I realized that public art in Pasadena does a great job of showing different sides of the community's identity. The Robinson Memorial is a powerful statement about racial representation and historical memory. By placing these giant bronze heads right across from City Hall, the city is forced to center a history that includes overcoming racial barriers. On the other hand, the "Fork in the Road" is the perfect example of everyday citizens taking back their public space. It wasn't funded by a big corporation or planned by a committee; it was a joke that the community loved so much that they forced the government to keep it. It shows that public art is not just about what the city tells us is important, but also about what the people themselves want to see in their neighborhoods.

Phase 4: Proposal

As I stated before, I chose Pasadena because of how close it is to my daily life in Arcadia and how rich its public art scene is. I love that Pasadena provides a massive platform to honor local African American history, and I also appreciate that the city has learned to embrace the community's sense of humor with the giant Fork. However, if I were to recommend new guidelines, I would like to see the city create a more open "community canvas" program. Instead of waiting for rogue artists to put up unauthorized art or waiting years for million-dollar bronze statues, the city could offer blank utility walls specifically for local, under-represented youth to paint on. This would prevent the ugly gang tagging that no one likes, and instead give local kids a legal, creative way to represent their current generation's stories.