In her mural, the internationally acclaimed Saligman reveals nearly 50 Omahans telling the city’s collective story, according to a press release. With historical references spanning several generations, the 22,000 square foot mural (said to be one of the largest in the US) will become “a compelling narrative that defines how we think about our past, present and future” once completed.
The public art piece is expected to be finished in the summer of 2009, and will greet visitors traveling from Eppley Airfield to downtown Omaha. More info at BemisCenter.com.
National Geographic Magazine, “Philly, Really.” October 2005.
National Endowment for the Arts, 2004 Guide, front cover.
Art in America Magazine, “1997 in Review: Public Art” article, annual 1998-1999.
Where Philadelphia Magazine, “Monumental Visions” article, August 1998.
University of Pennsylvania, cover.
Public Art Review, cover.
Passing Through is a collective group of whispers strewn throughout a city. People were randomly eavesdropped on and these words were left in altered signage through the city. This mural is the centerpiece of the project: one dozen related satellite murals also appear on old gas pumps, a delivery truck, highway trestles, and commercial buildings. Passing Through listens to different communities and mirrors their words back to them. The project asks, “Is it possible to create public images that empower the voices in a community while not drawing clear conclusions with uplifting messages? Does a mural have to be a huge show stopper, or can we speak at different volumes?
-Artist’s statement, Public Art Review Magazine, Fall/Winter 2005, “Spotlight on Muralists” article.
Awards
Leeway Foundation, Grant for Excellence
When I paint at a scale far greater than my physical presence, I know that this is what I was put on earth to do. I am completely dedicated to large scale public work. In this public forum, I strive to remain an individual trying to say something new. My large paintings originate from the simple desire to make people aware of their physical, and psychological surroundings, This desire is both socially and aesthetically motivated. I am particularly interested in bringing art directly to an audience that would otherwise have little or no contact with it. Through my work, I hope simply to alter someone’s daily experience.
- Artist’s statement for The Leeway Grant for Excellence 2000, The Leeway Foundation
Pennsylvania Council on the Arts
I write this statement with hesitation, for my preferred means of communication is visual. Also, I am not so sure people ever read these. (I myself have never made it through one.) Yet, discussing my own work is of course, fun for me. So here are some thoughts. I am not sure how I become an artist. A lot of perseverance, hard work and a love for being messy played a real big part. I do know that through my work, I have discovered why I have so happily chosen an “artistic path” in life. Creating compulsively is simply what I do. My work is both aesthetically and socially motivated. This work enables me to be different. The creation of super-large, exterior public works combines so many things that I love: painting big, the outdoors, heights, and the in-depth experience of diverse people. My desire is that this art alter the viewers’ daily experience in a small way. In other words, grand creations, not grand intentions. My vision, talents and work have flourished because of this fellowship and others like it. I am grateful for this opportunity and believe that fellowships to individual artists have the potential to influence society in a very meaningful way.
- Artist’s statement for Fellowship Recipient Award 2002, Pennsylvania Council of the Arts
Philadelphia Mural Arts Program, Visionary Artist Award
In 1989, Meg Saligman painted her first mural with the Philadelphia Anti Graffiti Network. Since then, her talent has blossomed into an internationally recognized mural career, and the Philadelphia Mural Arts Program has been Mrs. Saligman’s most ardent supporter. With the Mural Arts Program, she has created Philadelphia’s landmark Common Threads at Broad and Spring Garden streets. Her other well known works include Philadelphia Muses at 13th and Locust streets, a mixed media Theater of Life at Broad and Lombard streets and the new Passing Through wall that is a focal point on the Schuykill Expressway. Saligman’s influential work often brings art directly to an audience that would otherwise have little or no contact with it. Through her work, she strives to alter people’s daily experiences. An innovator in her field, she was the first artist in Philadelphia to include community members as subjects in the murals themselves. One of her greatest innovations was that she devised a system where people from communities could easily paint murals themselves, a technique that has enabled entire cities and even prison communities to participate in the public art making process. Her other technical innovations include her adaptaion of California artist Kent Twitchell’s method of painting on cloth, which has now become an industry standard. In addition, Mrs. Saligman was the first artist to use a computer in the designing of murals in Philadelphia. Her influence continues as she has developed many computer techniques that are widely used in the mural design process.
Saligman’s work has been celebrated nationally. In 2006, she was featured in the national publication, Public Art Review, as one of the ten muralists from throughout the country who has been influential in the past decade. She has received numerous awards that include honors from the National Endowment of the Arts, The Mid Atlantic Arts Foundation, The Pennyslvania Council of the Arts, and Philadelphia’s Leeway Foundation.
- Philadelphia Mural Arts Program Visionary Artist Award at the 2006 Wall Ball