“The white cube as the perfect oronly site for showing and viewing arthas been a contested idea for manyyears now. As artist began to seetheir work in the broader culturalcontext of its production so thecontext in which the work was seencame to have a greater significance.”Sam AinsleyKevin HarmanSkip 11(2011)
Objectives:• Examine the nature and role ofartworks sited in the public domain• Explore different categories of publicart: monumental, murals, lightprojections, land art and temporaryworks and events• Political argument that art is a forcefor economic and social regeneration• Public art that was parachuted intothe public domain• Vandalism as a manifestation ofpublic criticism
• Public Art is a title thatimplies that all other art issomehow not for thepublic• It seems to draw adistinction between thepublicness of Public Art‟slocation as opposed tothe publicness ofinstitutions like museumsand contemporary artgalleries
David Harding, Glenrothes’first town artist (1968-78), dedicatedhimself to creating art, not forvisitors, but embedded in theneighbourhoods of those who livedthere.
„Yarnbombing‟, Inverness 2009
Antony Gormley6 Times (1)
Karla Black, Wish List, 2008(Sugar paper, chalk, ribbon, hair gel, nailvarnish, Plaster powder, paint, petroleumjelly, polythene, rubber glove.)Karla Black
David Shrigley, „Black Snowman‟, 1996
“Architecture is an event in itself. It can exist quiteindependently. It has no need for either sculpture orpainting…visual arts are subservient to architecture.”Le Corbusier
APG members 1977Ian Breakwell, Barbara Steveni,Nicholas Tresilian, John Lathamand Hugh Davies.The Artist Placement Group (APG) emerged in London in the 1960s. The organisation activelysought to reposition the role of the artist within a wider social context, including government andcommerce, while at the same time playing an important part in the history of conceptual art duringthe 1960s and 1970s. The Observer journalist, Peter Beaumont, has described the APG as„one of the most radical social experiments of the 1960s‟.“The context ishalf the work”
Douglas Gordon,Empire,1998Hitchcock, Vertigo, 1958
John Byrne, Boy on Dog, 1974
EdinburghLeith Mural: A mural by PaulGrimes, depicting the historyof Leith on the corner of FerryRoad and North Junction Street.GlasgowMural (1990),Saracen Street, Possilpark
The M8 Art Project
Dalziel + Scullion,The Horn, 1997AN ARTISTS impressionof the new snow polesplanned for the M8 besidethe Trespass factoryAndy Scott,Heavy Horse, 1997David Mach, Big Heids, 1999
David ShrigleyMillennium Spaces Project, 1999, in collaboration with Zoo Architects,developing a site in Possilpark, Glasgow.Claire BarclayMillennium Hut
Graham Fagen, Royston Road Trees, 2000
Paul Carter, Signal Hut, 2001
Jonathan Monk, Cancelled, 2001
David Shrigley, Imagine the Green is Red, 1997
OCTOBER: CONTEMPORARY ART IN ST. VINCENT STREETOctober presents the work of 31 Glasgow-based artists in the city-centre location of St Vincent Street. Each artist is assigned one day of the month of October 2001in which they can make and show work in any site along the street: bars, cafes, banks, offices, waste-grounds, churches, pavements, walls… Presenting public art inthis transitory way allows the artists the freedom to bring their practice into the public realm without the constraints of producing a permanent work. St VincentStreet runs from George Square across the M8 and into the residential area of Finnieston: from the heart of the city to its contrasting outskirts. Along the way, theoverall look and atmosphere changes from high-class commercial outlets and the head offices of national corporations to small corner-shops and council flats.Rather than placing the art object in the gallery, October places the work of art within this social context that represents various aspects of the everyday. Artworkswill include installation, painting, performance, photography, sculpture, text, and video. Not all of the artists have previously made public art, many work only ingallery spaces. These artists have been selected to represent a cross section of contemporary art practice in Glasgow, enabling a general engagement with the widercontext of the city street.
The work comes out of a three-way relationship between myself,household materials and the urban environment. Most days I willdo something like burst a bag of flour in the park, or lay toilet paperover daffodils.Karla BlackDavid SherryAdvancement into Retreat
Dalziel + Scullion,Modern Nature, 2000"We set out to make a work that connects with itsimmediate environment and its surrounding location,but which also incorporates a more global note ofreference.” Dalziel + Scullion
Donald Urquhart,Birked Scar, 1999
Walking through this place at night, we aim to createan intense experience that people simply cannot getelsewhere. And we hope this will lead to a more profoundunderstanding of the landscape. It will be a step into theunknown.‟Angus Farquhar, nva
Over a two hour night-time walk audiences encountered a range of artistic responses, from light andsound installations to more complex international performance and music, built around key naturalfeatures within the glen. For The Path walking itself became significant. The „horseshoe‟ routefollowed an old drove road/peat track rising to 1,500 feet past a flowing burn with deep pools,rockfalls, ancient trees and scattered shielings.
nva, The Storr - Unfolding LandscapeOld Man of Storr, Skye: Festival - Aug/Sep 2005Scotland is often projected as a wild place empty ofpeople and that is not really the case. We have beenworking with local communities, writers, musiciansand mountaineers, people who know Trotternish, with theaim of getting to the heart of the human history of the place.We are trying to articulate this for visitors usingilluminations, sound and the weather, of course.‟Angus Farquhar, creative director of NVA
Jenny HogarthPentland Rising,2004
Craig CoulthardForest Pitch (2012)Forest Pitch aimed toencourage debate aboutnational identity, the naturalworld, sustainability, thenature of collective memoryand the benefits of sportingparticipation.
The teams’ football strips were designed by Scottish school children
Provide a series of creativeexperiences through whichpeople can reflect on themassive changes happeningin the area, to celebrate andgive significance to the manypeople that have passedthrough the Red Road Flats.
Garry WilliamsMusic For StreetFights: A Soundtrackto Late-NightViolence ( 2008)StrathbogieHotel/Disco, Bogie StFilm stillWhen the weekend comes, Huntly’s social life is drawn towards the Strathbogie Disco.Garry designed a soundtrack for late night violence. Garry collaborated with police andpub owners to play the music via an outdoor mobile sound unit between 10pm-2amover the weekend. When a fight occurred, his helpline was called and he wouldactivate the music to aid dispersal.
Jeremy Deller ‘s Sacrilege in Glasgow Green (2012)