The document discusses various topics related to public art including:
- The marginalization of artists in public art projects
- Different levels of engagement artists can have, from individual technical work to long-term community embeddedness
- Issues of representation, gentrification, and the commodification of place through public art
- The broad definition of what constitutes public art
- International examples of organizations taking critical approaches to art and urbanism
Space, place and site in critical spatial arts practicecharlesrobb
An overview of the key ideas of Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
An overview of key ideas from the reading: Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
Space, place and site in critical spatial arts practicecharlesrobb
An overview of the key ideas of Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
An overview of key ideas from the reading: Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Definition of Art and role of Art in Society: Role and meaning of art, various types of arts- fine arts, performing arts, commercial arts, industrial arts, folk arts, abstract art, visual arts, spatial arts, temporal arts, pop art etc., relationship of architecture with other arts like Painting and Sculpture
Basic design & visual arts (Elements of design)Ar.Shakti Nanda
Lecture and presentation on Elements of Design for students of architecture, fine art and photography. semester - I (2015), Sri Sri University, Odisha. 7+1 Elements of design explained (Point, Line, Shapes, Space, Form, Texture, Value, Colour) in details with examples for better understanding. Content compiled from books and internet.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Definition of Art and role of Art in Society: Role and meaning of art, various types of arts- fine arts, performing arts, commercial arts, industrial arts, folk arts, abstract art, visual arts, spatial arts, temporal arts, pop art etc., relationship of architecture with other arts like Painting and Sculpture
Basic design & visual arts (Elements of design)Ar.Shakti Nanda
Lecture and presentation on Elements of Design for students of architecture, fine art and photography. semester - I (2015), Sri Sri University, Odisha. 7+1 Elements of design explained (Point, Line, Shapes, Space, Form, Texture, Value, Colour) in details with examples for better understanding. Content compiled from books and internet.
book : " THE EMERGENCY WILL REPLACE THE CONTEMPORARY "Emergency Art
book on tent by Thierry Geoffroy / Colonel during biennalist actions at documenta ( Kassel and Athens) d13 , d14 and Venice Biennale with text by Tijana Miskovic
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Artcasting: reflections on inventive digital evaluationjenrossity
Presentation given by Jen Ross at the Scottish Network on Digital Cultural Resources Evaluation Workshop 3. https://scotdigich.wordpress.com/2016/04/01/report-from-workshop-3-evaluating-use-and-impact/
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
Introduction to Art Chapter 31 Postmodernity and Global CultTatianaMajor22
Introduction to Art Chapter 31: Postmodernity and Global Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our own recent past. It speaks to the
dramatic social, political and technological changes of the last 50 years, and it questions many of
society’s values and assumptions—a tendency of postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially challenging is that, like the world
around us, it has become more diverse and cannot be easily defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to explore questions about the conceptual
nature of art, its form, its production, and its ability to communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,” when artists turned away from
painting and sculpture to experiment with new formats including photography, film and video,
performance art, large-scale installations and earth works. Although some critics of the time
foretold “the death of painting,” art today encompasses a broad range of traditional and
experimental media, including works that rely on Internet technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global Cultures 449
Contemporary artists continue to use a varied vocabulary of abstract and representational forms
to convey their ideas. It is important to remember that the art of our time did not develop in a
vacuum; rather, it reflects the social and political concerns of its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist movement of the early 1970s,
embraced imagery and art forms that had historical connections to women.
In the 1980s, artists appropriated the style and methods of mass media advertising to investigate
issues of cultural authority and identity politics. More recently, artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted characteristics of Minimalist art
to create new abstract sculptures that encourage more personal interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural discourse, interpretation and a range
of individual understandings, in addition to the formal and conceptual problems that first
motivated the artist ...
5. “ Certainly site-specific art can lead to the unearthing of repressed histories, provide support for greater visibility of marginalized groups and issues, and initiate the re(dis)covery of 'minor' places so far ignored by the dominant culture. But inasmuch as the current socio-economic order thrives on the (artificial) production and the (mass) consumption of difference (for difference’s sake), the siting of art in 'real' places can also be a means to extract the social and historical dimensions out of places to variously serve the thematic drive of an artist, satisfy institutional demographic profiles, or fulfill the fiscal needs of a city.” Miwon Kwon “ One Place After Another”
6. "when you are asked to do a public art project, you're asked to do something that's peripheral to the building designed by the architect; you're asked to do something on the margin; you don't get the main space, you're put in the corner. And sometimes it's worse than that; we've been working a long time on a project where architects are saying things like, "well, we need some art overlay here." So the artist is asked to provide something like paint, or wall paper, or a carpet. Or sometimes not even that; some architects- maybe understandably- want their walls and floors to be left alone, untampered with; so, what they want is floating art, maybe an 'art float' separate from their walls, from their floor. As a public artist, your're asked to do something extra, something unnecessary. The ticket counters have been designed, the transfer corridors have been designed, all of the airport that's actually needed and usable has already been designed by the architect; yet the city has a One Percent for Art law, so art has to come in at the last minute, like a deux ex machina, like an architect's nightmare.".........There shouldn't be a separate field called public art, there should be only architecture and landscape architecture projects, that everyone - including so-called artists can apply for. From an Interview with Vito Acconci on Art Architecture, Arvada, and Storefront in Tom Finklepearl's Dialogues in Public Art, pp175. MIT press, 2000.
7. “ Public art excludes no media, materials, or process. It can require years of planning, consultation and approval to develop, or it can occur spontaneously and unsanctioned. It can be momentary or lasting. It can at once excavate the past and envision the future. With a broadening of the conception of public, it can happen at almost any time, with anyone, and virtually anywhere…even in galleries and museums and other private settings. Public art is always art.” Patricia C. Philips
8. Public art operates in the terrain between the private and the political, the term public may apply to any process or forum of mediation between the individuals and the social structure in which the individual exists. A negotiation between the articulation of personal and collective identity, art which engages with the notion of the public might begin to question or activate the subject and the subjective response to these relative notions of publicness, history, community, identity and meaning. Making the activity of personal and community identity formation public, creating spaces or structures where the private might interact with respond to and articulate the formation of identity within the public realm. Seamus Nolan 2008 Public art operates in the terrain between the private and the political, the term public may apply to any process or forum of mediation between the individuals and the social structure in which the individual exists. Seamus Nolan 2008