"What suggested itself here was a paintbrush because a paintbrush is a symbol of a type of art that has kind of gone out of fashion," Oldenburg told about 30 reporters and officials gathered on the second floor of the Hamilton Building. He contended that no one paints anymore, that artists perform or make objects and installations instead.
But fortunately, he added, there are art schools and museums where the idea of the paintbrush remains "something in the minds of many."
The academy is preparing to transform the block of Cherry Street west of Broad into a $3 million space called Lenfest Plaza, after H.F. "Gerry" Lenfest and his wife, Marguerite, donors of two-thirds of the necessary funds.
It is scheduled for completion by spring of 2011, which roughly coincides with the completion date for the Pennsylvania Convention Center extension, directly across Broad Street.
Academy president David R. Brigham and other officials at the art school and museum said they believed the plaza would unify the academy's buildings - fanciful Furness and no-nonsense Hamilton - and also serve to draw conventioneers across the street, funneling them out into the city toward the Benjamin Franklin Parkway, where the new Barnes Foundation gallery and museum is slated to open in 2012.
The Oldenburg sclupture - which has two parts, the second being a large dollop of paint that ostensibly has dripped from the brush onto the plaza below - will rise directly in front of the convention center entrance.
Mayor Nutter, on hand for Thursday's announcement, emphasized the significance of the project from the city's perspective.
"Lenfest Plaza will be a great gateway to 'museum mile,' " he said, alluding to the Parkway, and "will dramatically improve the sense of public space here in Philadelphia. Residents are just going to love it."
Many paintbrush details remain to be worked out, however, including how high it will rise and what the exact nature of the dollop of paint will be. Oldenburg said the brush would be about the same height as the Furness building roofline, 53 feet or thereabouts, and that the piece would jut over the Broad Street sidewalk at about a 60-degree angle.
"That's scary," he said.
But not to worry, "we'll be careful" - although Oldenburg likes the sense of danger the angle imparts. The angle also allows the brush to be visible up and down Broad Street and "that's very important," he said.
The piece will be made of steel and fiberglass and the brush's bristles will be illuminated. Oldenburg is working with the idea of embedding LED lights inside, making the brush resemble a torch or beacon. Color is still being pondered.
Whether lights would also be embedded in the paint on the ground is another matter. In fact, the nature of it is a nettlesome problem.
"It's not exactly a dab," said Oldenburg. "It's more like a glob." How big will it be? The artist is not sure. Globs are tough.
The paintbrush will be the third Oldenburg public work in the city. The first, which was also the artist's first monumental piece of public art, was Clothespin, installed in front of the Centre Square office towers. Its installation marked the beginning of major office development west of City Hall, though no one knew that at the time, and it announced a new era of public art in the city.
In 1981, Oldenburg's Split Button was installed at the University of Pennsylvania. The artist, who largely worked in collaboration with his wife, Coosje van Broogen, has created about 45 monumental renderings of ordinary objects since Clothespin. Van Broogen died last year.
"Clothespin was the first city monument on a large scale that could compete with the architecture around it," said Oldenburg. "That's what we were trying to do."
The paintbrush has different problems, he said.
"It's a very difficult site because it's so narrow," he said. "A lot of people will be in there and you don't want to be in their way."
Contact culture writer Stephan Salisbury at 215-854-5594 or firstname.lastname@example.org