Expanding Our Collective Imagination Through Public Art and Social Practice

2020 ◽  
pp. 3-8
Author(s):  
Cameron Cartiere ◽  
Leon Tan
Keyword(s):  
Public Art ◽  
Social Practice ◽  
Collective Imagination

scholarly journals Green Aspirations and (Un)sustainable Detours

2020 ◽  
Vol 7 (2) ◽  
Author(s):  
Ditte Holm
Keyword(s):  
Urban Development ◽  
Public Art ◽  
Social Practice ◽  
Artistic Practice ◽  
Short Term ◽  
Adequate Measure ◽  
Short Term Evaluation ◽  
Term Evaluation ◽  
Local Residents ◽  
Reflexive Analysis

The participatory, public art project Istedgade Green Spots and Sustainable Detours wanted to engage several hundred local residents to take part in co-designing, implementing and sustaining multiple green oases in and around the street Istedgade in central Copenhagen. This article constitutes a qualitative, reflexive analysis of the processes of developing the artwork with a particular emphasis on the reasons why it failed to develop the ambitious project it originally envisioned. The article discusses the project through the lens of the new norms for artistic practice that have evolved within social practice art, a field of art with a particular sensitivity towards issues of invisibilities, inequalities and injustices and a strong activist dimension. While highlighting two key challenges affecting the success of the project, the article also raises the question of whether the short-term evaluation of the project constitutes an adequate measure for this type of intervention into urban development.

PUBLIC ART IN EDUCATIONAL AND RESEARCH ENVIRONMENT

2020 ◽  
Vol 1 (2) ◽  
pp. 156-162
Author(s):  
С. A. Kartseva ◽  
◽  
Keyword(s):  
Contemporary Art ◽  
Public Art ◽  
Social Practice ◽  
Research University ◽  
Institutional Environment ◽  
Educational Institutions ◽  
Art Practice ◽  
Site Specific ◽  
International University ◽  
Practical Recommendations

Combining educational environment with art has a long tradition within university museums, which are a valuable research resource, responsive to the needs of teaching, research and educational activities. At the same time, today not every school, university or research center has or can afford such museums. The article discusses innovative formats of interaction between educational institutions and artistic practices through public art — contemporary art practice, intended for the unprepared audience and implying the demonstration of art in a public, non-institutional environment. The article reveals the essence of the concept of public art, its evolution from understanding itself as an object to procedural and social practice; indicates the communicative, cultural and symbolic potential of public art in the formation of environments, communities, in the promotion of innovative ideas on the basis of universities or other educational institutions on the example of projects implemented at the National Research University Higher School of Economics, Moscow International University, Skolkovo Innovation Center. The conclusions of the article are the practical recommendations for creating public art projects on the territory of modern educational and research centers, based on communicative, site-specific, socially engaged approach.

The Public Utteraton Machines: Recording What People Think of Public Art in New York City

2018 ◽  
Vol 28 ◽  
pp. 48-50
Author(s):  
Rebecca Hackemann
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Public Art ◽  
Social Practice ◽  
Quantitative Data ◽  
Art Practice ◽  
The Public ◽  
Object Based ◽  
The City

In 2015–2016 the author installed interactive public artworks on sidewalks in Brooklyn and Queens using ordinary city permits. The locations were chosen in counterbalance to the dominant choices of location for public art in New York, which tends to be placed in Manhattan or other tourist-concentrated areas. The works are entitled the Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as art’s role in society. The device’s earpiece recorded over 100 open-ended narratives and 391 responses to quantitative data questions via an integrated e-paper display screen. This public art project combines social practice with object-based public art into a conceptual public art practice that forms a commons or civic art. Sound archives of the responses can be found at local libraries in Queens and Brooklyn and at http://utteraton.com/ .

The Rational Planning Approach in Public Art Production: Evaluating the Quality of Urban Sculpture Plans in Shanghai

2020 ◽  
pp. 0739456X2096360
Author(s):  
Jane Zheng
Keyword(s):  
Public Participation ◽  
Public Art ◽  
Social Practice ◽  
Quality Evaluation ◽  
Planning System ◽  
Planning Systems ◽  
Interorganizational Coordination ◽  
Rational Planning ◽  
Planning Approach

This paper proposes a theoretical framework for public art plan quality evaluation and critically examines its limitations. The argument is twofold. First, the proposed framework embodies a rational planning approach to public art planning, which caters to both traditional and utilitarian types of public art, and advocates creating an environment conducive to social practice art. This framework largely applies to countries with strong rational planning systems like China. Second, while China’s urban sculpture planning system possesses strengths in terms of policies, it is weak when it comes to addressing public participation, implementation, and interorganizational coordination. That said, the plans as realized are highly influenced by individual planners and some of them excel in these areas of broader systemic weakness.

The Pornographer and McGahern's Allusive Practice

2017 ◽  
Vol 47 (2) ◽  
pp. 281-297
Author(s):  
Tom Walker
Keyword(s):  
Social Practice ◽  
Literary Tradition ◽  
The Novel ◽  
Present Value ◽  
The Past

Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.

Jazz Bubble

2018 ◽  
Author(s):  
Dale Chapman
Keyword(s):  
New York ◽  
Political Economy ◽  
Social Practice ◽  
Global Economy ◽  
First Century ◽  
Music Culture ◽  
Social Trends ◽  
Governmental Organizations ◽  
Early Twenty ◽  
A Site

Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period. The emergence of financialization as a key dimension of the global economy shapes a variety of aspects of contemporary jazz culture, and jazz culture comments upon this dimension in turn. During the stateside return of Dexter Gordon in the mid-1970s, the cultural turmoil of the New York fiscal crisis served as a crucial backdrop to understanding the resonance of Gordon’s appearances in the city. The financial markets directly inform the structural upheaval that major label jazz subsidiaries must navigate in the music industry of the early twenty-first century, and they inform the disruptive impact of urban redevelopment in communities that have relied upon jazz as a site of economic vibrancy. In examining these issues, The Jazz Bubble seeks to intensify conversations surrounding music, culture, and political economy.

San Francisco's New Deal Murals in Long-Term Perspective

2020 ◽  
Vol 97 (1) ◽  
pp. 3-32
Author(s):  
Robert W. Cherny
Keyword(s):  
High School ◽  
San Francisco ◽  
New Deal ◽  
Public Art ◽  
George Washington ◽  
Art Programs ◽  
City College ◽  
Washington High School ◽  
Treasure Island

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.

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