Category: Art Theory

Just Art for a Just City: Public Art and Social Inclusion in Urban Regeneration

Cited in http://www.publicspace.org/en/text-library/eng/b003-collective-culture-and-urban-public-space

http://usj.sagepub.com/content/42/5-6/1001.abstract

Abstract

In this article, it is shown how cultural policy, and in particular public art, intersects with the processes of urban restructuring and how it is a contributor, but also antidote, to the conflict that typically surrounds the restructuring of urban space. The particular focus of the paper is on investigating how public art can be inclusionary/exclusionary as part of the wider project of urban regeneration. The first part of the paper examines examples in which public art intervention has attempted to generate inclusion. Subsequently, attention focuses more on examples in which the public art has been perceived as an aspect of cultural domination and has thus provoked resistance. Throughout, it is argued that the processes through which artworks become installed into the urban fabric are critical to the successful development of inclusion.

Art, space and the city: public art and urban futures, Malcolm Miles, 1997

Preface?

  • A duality emerges between public art which is bound by the aesthetics of the object, and art as a continuous, participatory process of social criticism.
  • Two roles for art are suggested:
    • as decoration within a re-visioned field of urban design in which the needs of users are central,
    • and as a social process of criticism and engagement, defining the public realm not as public sites but as complex fields of public interest. The tension between these positions is creative.

Evaluation Mentioned

  • 4: The contradictions of Public Art
    • Page 59:
      • Selwood, The Benefits of Public Art, 1995
      • ref 25: A particular problem is the lack of a tested methodology for either qualitative or quantitative evaluation, though this could be developed from the skills of market researchers; more important is the definition of what constitutes a benefit to society.
    • Page 68:
      • (first mentioned The Strategy for Public Art in Cardiff Bay,1990) ..we could contrast Visual Dallas (Dallas, 1987), which begins with an evaluation of the city, and the importance for its ‘livability’ of good public space, citing W.H.Whyte (perhaps ‘The Social Life of Small Urban Spaces’,1980)
    • Page 76: Evaluation

Urban Interventions: Personal Projects in Public Places, R.Klanten et al., 2010

from amazon

Product Description

Evolving from graffiti and street art, urban interventions are the next generation of artwork to hit public space. Using any and all of the components that make up urban
and rural landscapes, these mostly spatial interventions bring art to the masses. They turn the street into a studio, laboratory, club, and gallery. Modified traffic signs, swings at bus stops, and images created out of sand or snow challenge us to rediscover
our environment and interact with it in new ways. The work is an intelligent and critical commentary on the planning, use, and commercialization of public space. With a rich visual selection of projects and methods, Urban Interventions documents
this new artistic approach to urban art that is currently making a profound
mark on our contemporary visual language. The book shows the growing connections and interplay of this scene with art, architecture, performance, and installation.
Propagators of urban intervention surprise and provoke with work in cities
including New York and London, but also in countries such as China, Columbia, and Turkey. Everywhere the work appears it turns public spaces into individual experiences. Urban Interventions is the first book to document these very current, personal art projects in a comprehensive way.

 

MEMO

Chapter 1: Urban Canvas

  • Haas & Hahn, Favela painting; Vila Cruzeiro, Rio de Janeiro, 2006 (p31)
  • ZASD,Berlin based artist
    • Arrow Pieses
    • Arrows Generation I,II
    • Acupunture Attempts; Berlin, 2009
  • Graffiti Research Lab
    • Laser Tag
    • LED Throwies
  • VR/Urban, SMSlingshot, Berlin, 2009
  • Electroboutique, Digiluck, Oslo, 2008-2009
  • Johannes Vogl, Five Moons, Vienna, 2007
  • Haque Design+Research, Open Burble Burble: Singapore, 2006 & Burble London, 2007
  • HeHe with Helen Evans, Nuage Vert(Green Cloud), helsinki. 2008

Chapter2: Localized

  • Pilar Lopez Baez, Little pieces of paper in the walls; Madrid, 2009(p79)
    • ‘The artist writes short texts in small pieces of paper and inserts them into little crannies in street walls. This project aims at giving buildings a voice. The pieces of paper are left to be found by pedestrians at an improbable moment.’
  • Slinkachu,
    • Slinkachu is also featured in book”Beyond The Street(p330)”
    • What brings us together and what keeps us apart, 2009 (p85)
    • installation made at Fame Festival, at Grottaglie(South of Itary, near Brindisi) ,
    • ‘For this street art and photography project, the “Little People Project”, the artist remodels and paints miniature model  train set characters, which are then placed on the streets and in public spaces…’
  • Dan Witz,
    • Third Man Series; Brooklyn, New York, 2008
    • Dark Doings’ series, New York, 2009
    • Ugly New Buildings series, New York, 2009
    • In Plain View, Williamsburg, New York 2009
    • ‘The “Kilroy Variations” are photo-based, heavily re-painted stickers glued to the walls of new modern architecture.

Chapter3: Attachments

  • ‘extensions within the cityscape’
  • ‘parasitic takeover of evーeryday spaces and structures, to which we adapt ourselves as we move through the city, can be witnessed in a wide array of works..’
  • Luzinterruptus
    • A lot of policeman for so few people..;Malasana district, Madrid, 2009
    • Urban Trash(IV); Carretas st., Madrid, 2009
    • Public toilets;Malasana district, Madrid, 2009
    • ‘Luzinterruptus is an anonymous artistic group that carries out urban interventions in public spaces using light as a  raw material and darkness as the canvas. The three members of the team come from three different disciplines: art, lighting, and photography.’
  • Jan Vormann
    • Dispatchwork; Berlin, Belgrade, Arnsberg, Israel, Arnsberg, Amsterdam
    • Using LEGO block to fill gaps and nicks in urban spaces.
  • Dan Wits
    • Prank;Greenpoint, New York, 2005
      • balloon on building facade to make it looks like a face.

Chapter4: Public Privacy

  • (the chapter) follows very different strategies that dissolve the boundaries between the private and the public, the familiar and the alien, in the urban realm.
  • Jason Eppink
    • Take a Seat; various metro stations, New York, 2007-ongoing
    • ‘Take a seat’ is an ongoing series of public furniture installations aimed at increasing the availability of seating options in New York City subway stations. Perfectly functional chairs are rescued from trash piles and reassigned to stations.
  • Arno Piroud
    • Assises ephemeres (ephemeral seats); Paris, 2007-2009
  • Cedric Bernadotte
    • Sofa at “grenier a sons”; Cavaillon, 2004
    • Interventions in public space; Toulon, 2003, Pau, 2009
    • Cedric Bernadotte’s experiments focus on the human presence in cities, namely how to adapt public spaces using inexpensive and ephemeral means. Questioning the frontier between public and private spaces, he works with tape, cellophane, and inflatables and creates new spaces by grafting existing urban furniture (p143)
  • Liesbet Bussche
    • Urban Jewelry, Amsterdam, 2009(p145)
  • Carol Hummel
    • Knitscape Larchmere, 2009(p149)
  • Kristof Kintera(p 157)
    • Lay down and Shine; Paradubice, 2008
    • Miracle(500 days from 12th September 2008); Tilburg, 2008
    • My Light us Your Light; 2008
  • Michael Rakowitz
    • paraSITE, New York, 1998-2000

Chapter 5: Activated( p 173-)

  • The projects here range from flash mobs and other choreographed events within the city,…
  • Compagnie Willi Dorner (p179)
    • Bodies in urban spaces
  • The Yes Man(p191)
    • The New York Times, New York, 2008
  • LIGNA, Radio Ballet; Leipzig, 2003 (p196)

Chapter 6: Advertised (p201-)

  • Filippo Minelli, (p241)

Chapter 7: Natural Ways(p245-)

  • Vanessa Harden(p255)
    • The Subversive Gardener/Precision Bombing Device II/Precision Bombing Device I/MkII Agent Deployed Field Auger; London , 2009
      • Guerilla Gardening subculture
  • Markus Mai(p279)
    • godlovesoul
      • God; West Carpathians, 2004
      • Mind; Magdeburg glacial valley,2004
      • Play; Black Forest, 2004
    • Beautiful Bastards; Berlin, 2005

Echo Objects: The Cognitive Work of Image, Barbara Maria Stafford, 2009

Product Description
Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In Echo Objects, she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought.

The Art of Placemaking: Interpreting Community through Public Art and Urban Design, Ronald Lee Fleming, 2007



Book Description
ISBN-10: 185894371X | ISBN-13: 978-1858943718 | Publication Date: April 1, 2007
This expertly researched book makes a radical case for accessible public art that fosters a powerful civic experience of connection to place. The author advocates narrative, site-specific public art that engages the popular imagination through common references to history, folklore, culture and geography, and demonstrates how the integration of approachable art with local landscape, architecture and urban design can facilitate identification with locale. Dozens of case studies of spectacular and innovative works throughout the United States are accompanied by practical information, cost and policy analysis, artist interviews, examples of failures and major controversies, and strategies for the future, making this book an essential reference for anyone involved with transforming and improving our public spaces. “The Art of Placemaking” features public art projects since the 1990s, including the integration of public art in urban design, historic interpretation, street furniture, transit-station and roadway-corridor design, mural towns and more, making this title an invaluable resource for artists, architects, urban planners and teachers, as well as non-professionals seeking to bring art into their communities.

‘7000 Oaks’ 1982-87, Joseph Beuys

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7000Oaks_Timeline

7000 Oaks

http://en.wikipedia.org/wiki/7000_Oaks

Joseph Beuys

http://en.wikipedia.org/wiki/Joseph_Beuys

Social Sculpture

http://en.wikipedia.org/wiki/Social_sculpture

In 1973, Beuys wrote:

“Only on condition of a radical widening of definitions will it be possible for art and activities related to art [to] provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the deathline: to dismantle in order to build ‘A SOCIAL ORGANISM AS A WORK OF ART’… EVERY HUMAN BEING IS AN ARTIST who – from his state of freedom – the position of freedom that he experiences at first-hand – learns to determine the other positions of the TOTAL ART WORK OF THE FUTURE SOCIAL ORDER.” [1]

*^ Beuys statement dated 1973, first published in English in Caroline Tisdall: Art into Society, Society into Art (ICA, London, 1974), p.48. Capitals in original.