A Companion to Public Art

Wiley-Blackwell (Verlag)
  • erschienen am 7. Juni 2016
  • |
  • 512 Seiten
E-Book | ePUB mit Adobe DRM | Systemvoraussetzungen
978-1-118-47534-8 (ISBN)
A Companion to Public Art is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale.
* Edited by two distinguished scholars with contributions from art historians, critics, curators, and art administrators, as well as artists themselves
* Includes 19 essays in four sections: tradition, site, audience, and critical frameworks
* Covers important topics in the field, including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, and the intersection of public art and mass media
* Contains "artist's philosophy" essays, which address larger questions about an artist's body of work and the field of public art, by Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.
1. Auflage
  • Englisch
  • Somerset
  • |
  • USA
John Wiley & Sons
  • 10,40 MB
978-1-118-47534-8 (9781118475348)
1-118-47534-8 (1118475348)
weitere Ausgaben werden ermittelt
Notes on Contributors
A Companion to Public Art: Introduction
Cher Krause Knight and Harriet F. Senie
I. Traditions
Traditions: Introduction
Cher Krause Knight and Harriet F. Senie
Artists' Philosophies
Memory Works
Julian Bonder
Public Art?
Antony Gormley
Natural Phenomena as Public Monuments
Alan Sonfist
Chapter 1: Memorializing the Holocaust
James E. Young
Chapter 2: Chilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance
Marisa Lerer
Chapter 3: Modern Mural Painting in the United States: Shaping Spaces/Shaping Publics
Sally Webster and Sylvia Rohr
Chapter 4: Locating History in Concrete and Bronze: Civic Monuments in Bamako, Mali
Mary Jo Arnoldi
Chapter 5: The Conflation of Heroes and Victims: A New Memorial Paradigm
Harriet F. Senie
II. Site
Site: Introduction
Cher Krause Knight and Harriet F. Senie
Artists' Philosophies
Give That Site Some Privacy
eteam (Hajoe Moderegger and Franziska Lamprecht)
The Grandiose Artistic Vision of Caleb Neelon
Caleb Neelon
Chapter 6: Sculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago
Eli Robb
Chapter 7: In the Streets Where We Live
Kate MacNeill
Chapter 8: Powerlands: Land Art as Retribution and Reclamation
Erika Suderburg
Chapter 9: Waterworks: Politics, Public Art and the University Campus
Grant Kester
Chapter 10: Augmented Realities: Digital Art in the Public Sphere
Christiane Paul
III. Audience
Audience: Introduction
Cher Krause Knight and Harriet F. Senie
Artists' Philosophies
Practical Strategies: Framing Narratives for Public Pedagogies
Suzanne Lacy
Public Art in a Post-Public World: Complicity with Dark Matter
Gregory Sholette
Chapter 11: Audiences Are People, Too: Social Art Practice as Lived Experience
Mary Jane Jacob
Chapter 12: Contextualizing the Public in Social Practice Projects
Jennifer McGregor and Renee Piechocki
Chapter 13: Art Administrators and Audiences
Charlotte Cohen and Wendy Feuer
Chapter 14: Poll the Jury: The Role of the Panelist in Public Art
Mary M. Tinti
Chapter 15: Participatory Public Art Evaluation: Approaches to Researching Audience Response
Katherine Gressel
IV. Frames
Frames: Introduction
Cher Krause Knight and Harriet F. Senie
Artists' Philosophies
The Virtual Sphere Frame: Toward a New Ontology and Epistemology
John Craig Freeman
The Elusive Frame: "Funny," "Violent" and "Sexy"
Tatzu Nishi
(Interview Conducted by Chieko Kinoshita)
Chapter 16: The Time Frame: Encounters with Ephemeral Public Art
Patricia C. Phillips
Chapter 17: The Memory Frame: Set in Stone, a Dialogue
Amanda Douberley and Paul Druecke
Chapter 18: The Patronage Frame: New York City's Mayors and the Support of Public Art
Michele H. Bogart
Chapter 19: The Process Frame: Vandalism, Removal, Re-Siting, Destruction
Erika Doss
Chapter 20: The Marketing Frame: Online Corporate Communities and Artistic Intervention
Jonathan Wallis
Chapter 21: The Mass Media Frame: Pranking, Soap Operas and Public Art
Cher Krause Knight
Cameron Cartiere

Notes on Contributors

Mary Jo Arnoldi is curator of African Ethnology and Arts in the Department of Anthropology at the Smithsonian's National Museum of Natural History. She has conducted research in Mali since 1978 and publishes widely on its arts and performance, cultural heritage, social life, and history. Her books include Playing with Time: Art and Performance in Central Mali (1995); and the edited volume African Material Culture (1996). She has curated numerous exhibitions including the museum's permanent "African Voices" installation, and co-curated the Mali program "From Timbuktu to Washington" at the 2003 Smithsonian Folklife Festival.

Michele H. Bogart is professor of art history at Stony Brook University (SUNY). She is the author of Public Sculpture and the Civic Ideal in New York City, 1890-1930 (University of Chicago Press, 1989); Artists, Advertising, and the Borders of Art (University of Chicago Press, 1995); The Politics of Urban Beauty: New York and Its Art Commission (University of Chicago Press, 2006); and the forthcoming Public Sculpture as Urban Rewnewal in New York City.

Julian Bonder is an architect and educator. He is principal of Julian Bonder?+?Associates; and partner at Wodiczko?+?Bonder, Architecture-Art-Design (an interdisciplinary firm with artist and professor Krzysztof Wodiczko, established 2003 in Cambridge, Massachusetts). Bonder served as professor of architecture at Universidad de Buenos Aires and currently teaches architecture, design, and theory as professor of architecture at Roger Williams University, Bristol, Rhode Island. His work on architecture, public space, and memory has received numerous awards, and is often found outside the traditional boundaries of architecture. Projects include: Center for Holocaust and Genocide Studies at Clark University, Worcester, Massachusetts; Museo de la Shoah, Desaparecidos, and AMIA (all in Buenos Aires). Projects with Krzysztof Wodiczko include the Memorial to the Abolition of Slavery (recipient of the 2012 Special Mention, Biannual European Award for Urban Public Space; shortlisted for the 2013 European Union Contemporary Architecture Award - Mies van Der Rohe Prize; and exhibited at the 2014 Venice Biennale - US Pavilion). Bonder delivered the keynote address at the fourth Annual Human Rights Conference in Lima (2008), a special presentation at the Memorial Democratic Conference in Barcelona (2007); and plenary presentations at Slavery and the University: Histories and Legacies (Emory, 2011), and Democracy and Memory in Latin America (Harvard, 2013).

Cameron Cartiere is an associate professor in the Faculty of Culture?+?Community at Emily Carr University of Art?+?Design, Canada. She is a practitioner, writer, and researcher specializing in public art, curatorial practice, urban renewal, sculpture, and sculpture parks. She is the author of RE/Placing Public Art (2010, VDM Verlag Dr. Müller); co-editor of The Practice of Public Art (Routledge, 2008); and co-author of the Manifesto of Possibilities: Commissioning Public Art in the Urban Environment (Academia.edu, 2007). Her most recent book (with Martin Zebracki, University of Leeds, United Kingdom) is The Everyday Practice of Public Art: Art, Space, and Social Inclusion (Routledge, 2016).

Charlotte Cohen is executive director of Brooklyn Arts Council. Previously she was a fine arts officer with the United States General Services Administration (GSA) Fine Arts Collection, one of our nation's oldest and largest public art collections. She managed the GSA's collection and its Art in Architecture commissions in the New York and Caribbean region. Prior to joining GSA in 2005, Cohen directed the New York City Percent for Art Program for nine years.

Erika Doss is professor of American Studies at the University of Notre Dame. Her wide-ranging interests in American art and visual culture are reflected in the breadth of her publications which include: Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (University of Chicago, 1991); Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (Smithsonian Institution Press, 1995); Elvis Culture: Fans, Faith, and Image (University Press of Kansas, 1999); Looking at Life Magazine (editor, Smithsonian Institution Press, 2001); Twentieth-Century American Art (Oxford University Press, 2002); The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials ( Amsterdam University Press, 2008); and Memorial Mania: Public Feeling in America (University of Chicago Press, 2010). Doss is also co-editor of the "Culture America" series at the University Press of Kansas, and is on the editorial boards of Memory Studies, Public Art Dialogue, and Material Religion: The Journal of Objects, Art, and Belief.

Amanda Douberley's research focuses on the experience of art in the urban environment. Her dissertation, "The Corporate Model: Sculpture, Architecture, and the American City, 1946-1975," situates large-scale abstract sculpture within the contexts of post-World War II public relations practices and urban renewal. She is currently a lecturer in art history, theory, and criticism at the School of the Art Institute of Chicago.

Paul Druecke's work was included in the 2014 Whitney Biennial. His site specific piece, 96th Street Aperture, was installed in New York City as part of Marlborough Chelsea's "Broadway Morey Boogie" exhibition along Broadway on the Upper West Side. Druecke's work has been featured in Camera Austria and InterReview, and written about in Artforum, Art in America, Artnet.com, and Metropolis.com.

Hajoe Moderegger and Franziska Lamprecht (who have collaborate under the name eteam since 2001) have conceived frictions between technology, land, and the local. Through the employment of relational aesthetics, land art, and the Web, eteam triggers local responses often resulting in delays, videos, collective hallucinations, installations, simulations, or books. eteam's projects have been featured at: MoMA PS1, New York; MUMOK Vienna; Centre Pompidou, Paris; Transmediale, Berlin; Museo Centro de Arte Reina Sofía, Madrid; Rotterdam International Film Festival; and the Biennale of Moving Images in Geneva. Moderegger and Lamprecht have received grants and commissions from: Art in General; New York State Council for the Arts; Rhizome; Creative Capital; and the John Simon Guggenheim Memorial Foundation. They were also residents at: the Center for Land Use Interpretation; Eyebeam; Smack Mellon; Yaddo; and the MacDowell Colony. Moderegger is also an associate professor of Emerging Media at The City College of New York, CUNY.

Wendy Feuer is the Assistant Commissioner for Urban Design?+?Art?+?Wayfinding at the New York City Department of Transportation. Feuer was the founding director of the New York Metropolitan Transportation Authority's Arts for Transit office and served as Director of Arts & Design for over ten years. She worked as an independent consultant on public art, planning, and design projects for 11 years.

John Craig Freeman is a public artist with over 25 years of experience using emergent technologies to produce large-scale public works at sites where the forces of globalization are impacting the lives of individuals in local communities. His work seeks to expand the notion of public by exploring how digital networked technology is transforming our sense of place. Freeman has produced work and exhibited around the world including: the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; FACT Liverpool; Kunsthallen Nikolaj, Copenhagen; Triennale di Milano; the Institute of Contemporary Art, Boston; and the Museum of Contemporary Art Beijing. His writing has been published in Rhizome, Leonardo, the Journal of Visual Culture, and Exposure. Freeman is a professor of new media at Emerson College in Boston.

Antony Gormley is widely acclaimed for his sculptures, installations, and public artworks that investigate the relationship of the human body to space. His work has been exhibited throughout the United Kingdom and internationally with recent solo exhibitions at: Zentrum Paul Klee, Bern (2014); Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro, and Brasília (2012); Deichtorhallen, Hamburg (2012); and the State Hermitage Museum, St. Petersburg (2011). Permanent public works include the Angel of the North (Gateshead, England); Another Place (Crosby Beach, England); Inside Australia (Lake Ballard, Western Australia); and Exposure (Lelystad, the Netherlands). Gormley was awarded the Turner Prize in 1994, and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE), and knighted in the New Year's Honours list in 2014. He has been a Royal Academician since 2003, and a British Museum Trustee since 2007. See www.antonygormley.com

Katherine Gressel is a New York City based independent curator, artist, and writer. She has written and presented for Createquity.com and the Americans for the Arts Public Art Network. She was a contributing editor and writer to...

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