City to help preserve artworks threatened by convention center teardown

The city appears to have solutions to save a group of artworks installed in the Austin Convention Center that were in danger of being destroyed as the demolition and reconstruction of the facility moves forward. Late last month, artist John Yancey, whose Riffs & Rhythms mural was at the centerpiece of the controversy, informed the Arts Commission that an anonymous donor had come forward to cover the estimated $70,000 cost of removing and relocating the mural.

A city spokesperson told the Texas arts website Glasstire that Yancey’s mural will be preserved and reinstalled in East Austin’s African American Heritage Cultural District as part of the redevelopment of Blocks 16 and 18. Damian Priour’s sculpture is expected to be relocated to the Austin Central Library, while parts of Margo Sawyer’s installation will be integrated into the redesigned Convention Center. The city is still seeking a solution for Rolando Briseño’s artwork. All pieces will remain part of Austin’s public art collection.

In a statement read at the Arts Commission meeting, Yancey credited the recent creation of the city’s office of Arts, Culture, Music and Entertainment with helping to preserve his mural and other pieces that were at risk of destruction.

“A positive turn occurred when Angela Means assumed leadership of the newly founded Arts Culture, Music and Entertainment department. ACME and the other artists met her after we all spoke at a recent Tourism Commission meeting and from my perspective, our discussions with her were very productive,” the statement read in part. “There has been an incredible amount of support from so many people, and I’m hopeful for a successful de-install and positive result with Riffs & Rhythms. Having a new home in this important cultural district being built by the Pleasant Hill Collaborative, there are still many details to be worked out and finalized, so we’re not completely out of the woods yet. However, the finish line is in sight and all signs are looking positive.”

The long-in-place works had been considered for deacession for approximately two years, whereby the city would return title of ownership to the artists. It was only since later in 2024 that it became apparent the city or convention center had no plans for how to remove or help preserve the works.

Since the issue has come to light, the city has initiated a larger review of the Art In Public Places program to address concerns around caring for and preserving commissioned pieces as the locations where they are installed go through redevelopment.

During her testimony at the Arts Commission meeting, Sawyer said she and other artists were treated as something of a nuisance as the deaccession discussions moved forward.

“The convention center never consulted with the artists about their intentions. I don’t believe they ever consulted with Art In Public Places … the artists were not invited until it was a fait accompli,” she said. “I believe the convention center does not understand the collection that they have. They have no idea about stewardship of their artwork. It’s a living museum.”

Candace Cooper, chief administration officer for ACME, said Means made sure her staff made the preservation of the endangered artworks a top priority as the office was forming.

“We’re having to fly the plane while building it, and the first thing that Director Means wanted to do when coming on board was figure out how we can solve this,” she said, adding that funding has been identified for the pieces to be removed and stored with the city.

Photo made available through a Creative Commons license.

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