By Cher Krause Knight, Harriet F. Senie

A significant other to Public Art is the single scholarly quantity to envision the most concerns, theories, and practices of public artwork on a accomplished scale.

  • Edited via exotic students with contributions from paintings historians, critics, curators, and paintings directors, in addition to artists themselves
  • Includes 19 essays in 4 sections: culture, website, viewers, and significant frameworks
  • Covers vital subject matters within the box, together with valorizing sufferers, public paintings in city landscapes and on collage campuses, the position of electronic applied sciences, jury choice committees, and the intersection of public artwork and mass media
  • Contains “artist’s philosophy” essays, which handle better questions about an artist’s physique of labor and the sector of public paintings, by way of Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.

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Extra resources for A Companion to Public Art

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Through various modes of perception, imagination, and experience these projects should serve to reinscribe sites into the cognitive maps of cities and their cultural and physical landscapes. Their ethics, aesthetics, and politics should then articulate discursive, interrogative, pedagogical, emotional, and therapeutic potentials. Shaped by an awareness of the need to address a plurality of publics and generations these “working memorials” may become active agents m e m o ry wo r k s ◼◼◼ for culture and dialogue, demanding responsibility and eliciting “response‐ ability,” human rights activism, and civic engagement.

2012. Nantes, France. Courtesy: Wodiczko + Bonder / Photographer: Philippe Ruault. m e m o ry wo r k s ◼◼◼ In essence, what I am suggesting is, first, a new approach to memory and memorialization in public space, one that understands memory as an action – a verb – rather than an object or a noun. Second, I believe we should attempt to broaden the understanding and sense of the word “memory”; the subject in the last few years of discussions about public space has come to mean, almost exclusively, evoking traumatic histories and events (this is a complex issue that should be further amplified and elaborated).

America’s Commitment to Culture: Government and the Arts. Boulder, CO: Westview Press. Nora, Pierre. 1989. ” Representations 26 (Spring: special issue: Memory and Counter‐Memory): 7–24. , Dario Paez, and Bernard Rimé, eds. 1997. Collective Memory of Political Events: Social Psychological Perspectives. Mahway, NJ: Lawrence Erlbaum Associates. Perec, Georges. 1997. Species of Spaces and Other Pieces, trans. John Sturrock. London: Penguin. Phillips, Patricia C. 1992. ” In Critical Issues in Public Art: Content, Context, and Controversy, edited by Harriet F.

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