Public Art and Civic Culture

1999 ◽  
Vol 1999 (73) ◽  
pp. 196-203
Author(s):  
C. Blake
Keyword(s):  
2011 ◽  
Author(s):  
David Johann ◽  
Michael E. Morrell
Keyword(s):  

2020 ◽  
Vol 97 (1) ◽  
pp. 3-32
Author(s):  
Robert W. Cherny

The federal art programs of the New Deal produced public art in quantities not seen before or since. Historians have studied many aspects of the New Deal's art programs, but few have considered the long-term history of works produced by them. New Deal art programs produced large numbers of public murals—so many that such murals are often thought of as the typical form of New Deal art. They thus provide readily available examples of the long-term experience of New Deal art. San Francisco has a particularly rich collection of these murals. Some of them have been well cared for over the past eight decades, but public officials have proved negligent stewards—and occasionally destructive stewards—of others. Some of San Francisco's murals were considered so controversial at the time they were created that they were modified or even destroyed. Others became controversial later, with calls for modification or destruction. Some of the latter were covered, some were vandalized, and some have deteriorated. Most of the damaged murals have been restored, sometimes more than once. This article looks at the city's New Deal murals at Coit Tower, the Mothers Building at the Zoo, the Beach Chalet, the University of California San Francisco, the Alemany Health Center, Treasure Island/City College, and Rincon Annex/Center, with special attention to the George Washington High School murals that have recently been highly controversial. Controversies over the murals at Coit Tower, Rincon Annex, and George Washington High School also reveal significant changes in the role of the city's political and civic leadership with regard to public art.


Author(s):  
Chris Wickham

Amid the disintegration of the Kingdom of Italy in the eleventh and twelfth centuries, a new form of collective government—the commune—arose in the cities of northern and central Italy. This book takes a bold new look at how these autonomous city-states came about, and fundamentally alters our understanding of one of the most important political and cultural innovations of the medieval world. The book provides richly textured portraits of three cities—Milan, Pisa, and Rome—and sets them against a vibrant backcloth of other towns. It argues that, in all but a few cases, the élite of these cities and towns developed one of the first nonmonarchical forms of government in medieval Europe, unaware that they were creating something altogether new. The book makes clear that the Italian city commune was by no means a democracy in the modern sense, but that it was so novel that outsiders did not know what to make of it. It describes how, as the old order unraveled, the communes emerged, governed by consular elites “chosen by the people,” and subject to neither emperor nor king. They regularly fought each other, yet they grew organized and confident enough to ally together to defeat Frederick Barbarossa, the German emperor, at the Battle of Legnano in 1176. This book reveals how the development of the autonomous city-state took place, which would in the end make possible the robust civic culture of the Renaissance.


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