Fourth Plinth

Fourth Plinth
Matt Brown · CC BY 2.0 · source
Name	Fourth Plinth
Location	Trafalgar Square, City of Westminster, Greater London
Coordinates	51.5079°N 0.1283°W
Established	1841 (plinth); 1998–present (contemporary programme)
Type	Public art commission

Fourth Plinth is a public art commissioning project in Trafalgar Square that stages temporary contemporary sculptures on the vacant plinth originally intended for an equestrian statue. The programme is managed by municipal and cultural bodies and has become a prominent site for rotating interventions by international artists, attracting debate among critics, politicians, curators, and the public. It connects to wider debates in contemporary art, urban policy, and heritage conservation.

History

The empty plinth was created during construction of Trafalgar Square in the 1840s, a project associated with Sir Charles Barry and John Nash urban improvements under the administration of the Metropolitan Board of Works and later the City of Westminster. The plinth remained vacant while other monuments such as the statues of Admiral Horatio Nelson, George IV, Sir Charles James Napier, and Sir Henry Havelock were installed. During the 20th century the site hosted temporary uses, including civic displays related to Victory in Europe Day, Coronation of Elizabeth II, and public demonstrations like those by Suffragettes and later by groups connected to Campaign for Nuclear Disarmament and Poll Tax Riots. In 1998 the Commission for Architecture and the Built Environment and the Greater London Authority initiated a formal contemporary art programme, influenced by precedents such as the Hayward Gallery commissions and the public art debates following the Festival of Britain.

Location and description

The plinth occupies the northwest corner of Trafalgar Square, adjacent to the National Gallery and facing Charing Cross Road, Whitehall, and Nelson's Column. The stone base was constructed in the 1840s in a neoclassical idiom consistent with the square’s layout by John Nash and Charles Barry. The plinth measures roughly the same footprint as the other three crowned pedestals and is made from Portland stone used across London civic architecture, similar to the material in St Martin-in-the-Fields and parts of Buckingham Palace facades. Its prominence makes it a focal point for tourist itineraries organized by operators like London Transport and cultural trails linked to institutions such as the Trafalgar Square Christmas tree tradition donated by Oslo.

Commissioning and selection process

The commissioning process has been overseen by successive civic bodies, including the Greater London Authority, Trafalgar Square Management Plan teams, and arts organisations such as Hayward Gallery, Tate Modern, and the Artangel network. Selection panels typically include curators from institutions like the National Portrait Gallery, critics from publications such as The Guardian and The Times, representatives from the Mayor of London’s office, and external advisors from bodies like the Royal Academy of Arts. Shortlists and proposals are debated in meetings that consider compatibility with planning frameworks administered by the Westminster City Council and constraints under the Planning (Listed Buildings and Conservation Areas) Act 1990 because the square is within a conservation area and adjacent to Grade I listed buildings. International artists are invited through open calls and direct commissions, often mediated by galleries such as Gagosian Gallery and foundations like the Henry Moore Foundation.

Notable works and installations

Installations have ranged from figurative sculpture to kinetic, inflatable, and digital works. Early prominent commissions included pieces by Marc Quinn, Antony Gormley, and Cornelia Parker, while later interventions featured artists such as Yinka Shonibare, Katharina Fritsch, Thomas Schütte, Heather Phillipson, and Elmgreen & Dragset. Works have referenced figures and themes linked to Nelson's Column, Napoleon Bonaparte, and broader histories involving British Empire, World War I, and World War II. Specific high-profile installations that generated national attention included a bright blue cockerel by Katharina Fritsch, a sculptural pair by Elmgreen & Dragset, and politically charged pieces by Doris Salcedo and Jeppe Hein.

Public reception and controversy

Reactions have ranged from acclaim in art circles—reflected in coverage by BBC News, The Guardian, and The Independent—to criticism from political figures in Westminster and commentators in outlets such as The Daily Telegraph and The Sun. Debates have touched on expenditure overseen by the Mayor of London and arts funding from bodies like Arts Council England, disputes over taste mirroring controversies around the Hayward Gallery and the Serpentine Galleries commissions, and questions of national symbolism similar to disputes about the Statue of Edward Colston and other contested monuments. Protests and petitions have occasionally accompanied unveilings, involving organizations like English Heritage and local amenity societies.

Conservation and maintenance

Conservation of temporary works requires coordination among conservators trained at institutions such as the Victoria and Albert Museum, technical teams from the Tate Conservation Department, and contractors appointed by Westminster City Council. The plinth itself, a heritage structure, is subject to maintenance regimes consistent with guidance from Historic England and obligations under the Ancient Monuments and Archaeological Areas Act 1979 where applicable. Logistics for installation involve crane operators certified under standards promoted by the Health and Safety Executive and liaison with police units including the Metropolitan Police Service for crowd control during unveilings.

Cultural impact and legacy

The programme has influenced public art practice across cities like New York City, Berlin, and Sydney, and informed debates in academic journals published by institutions such as Routledge and Oxford University Press. It has provided a high-profile platform for artists represented by galleries like White Cube and Galleries of Modern Art and contributed to tourism narratives promoted by VisitBritain and the National Trust. The plinth has become a case study in urban studies courses at universities including University College London, King's College London, and Goldsmiths, University of London for its intersection of art, heritage, and civic life.

Category:Public art in London