By Cher Krause Knight, Harriet F. Senie
A spouse to Public Art is the one scholarly quantity to check the most concerns, theories, and practices of public paintings on a complete scale.
- Edited by way of special students with contributions from paintings historians, critics, curators, and artwork directors, in addition to artists themselves
- Includes 19 essays in 4 sections: culture, web site, viewers, and demanding frameworks
- Covers vital subject matters within the box, together with valorizing sufferers, public artwork in city landscapes and on college campuses, the position of electronic applied sciences, jury choice committees, and the intersection of public paintings and mass media
- Contains “artist’s philosophy” essays, which deal with better questions on an artist’s physique of labor and the sphere of public artwork, via 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
Perhaps the best‐ known example is James Rosenquist’s F‐111 (1964–65) with its anti‐war imagery protesting the Vietnam War. Community based mural paintings in the Civil Rights era were clearly political in nature and usually sited in areas that reflected their causes. Webster and Rohr’s sweeping history of mural painting in the United States is a clear indication of the omnipresence of this tradition of public art and its transformation over time. Their chapter serves as a guide to both better appreciate and more fully acknowledge muralism as a part of the larger category of public art.
Memorial,” “memento,” “monument” (like “monitor”) suggest not only commemoration but also to be aware – to mind and remind, warn, advise, and to call for action. As our political and ethical companions, memorials should function as environments for thinking about the past and the present, fostering a new critical consciousness in democratic public space. The Latin monumentum derives from the verb monere (“to warn”), and thus signifies something that serves to caution, or remind with regard to conduct of future events.
Sculpture roots itself in all three. Artists were encouraged by modernism to look down upon the making of work for collective space, seeing such commissions as taking away their freedom of expression, but I feel that the commissioning process is, in fact, exactly the reverse. Art becomes stronger in the fight to be realized against the conventional attitudes that try to stop it. In making a work for a landscape or a community, you have the possibility to affect a change in the world by working both with it and within it.