Category: Art

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

Sense of the City: An Alternate Approach to Urbanism, Mirko Zardini(ed), 2005

Product Description

Challenging the dominance of the visual in the urban environment, the exhibition catalogue Sense of the City proposes a re-thinking and re-presenting of the city, and offers a more complex analysis of the qualities, comforts, communication systems, and sensory dimensions of urban life. From darkness and night to urban soundscapes, to the urban air and climate, this book presents a new, “sensorial” approach to urbanism. In defense of public spaces in contemporary cities, writer Cedric Price has observed that “mental, physical, and sensory well-being is required.” Included here is a rich collection of images on the different urban themes addressed in the exhibition, along with a series of insightful and critical essays. Contributors include Constance Classen, David Howes, Norman Pressman, Emily Thompson, and Mirko Zardini. Edited by Mirko Zardini. Hardcover, 6.5 x 9.5 in./320 pgs / Illustrated throughout.

Tsubasa Kato 加藤　翼

http://www.mujin-to.com/artist_kato.htm

http://koganecho.net/koganecho-bazaar-2011/artist/tsubasa-kato.html

http://koganecho.net/koganecho-bazaar-2011/artist/tsubasa-kato.html

Profile_
1984 年埼玉県生まれ。2010年東京藝術大学 大学院美術研究科 修了。2007年、当時 住んでいた自分と友人の部屋の間取りを合体させた構造体を引き興す を発表。その後、上野恩賜公園（2008 年）、 フランス ナント（2009年）でのプロジェクトを経て、2010年、東京・森美術館での「六本木クロッシング2010展：芸術は可能か？」に参加。今年、大阪市中央公会堂前、大阪城公園、万博記念公園前でのイベントを行う。

Maya Lin

from Wikipedia

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

Lin, who now owns and operates Maya Lin Studio in New York City, went on to design other structures, including the Civil Rights Memorial in Montgomery, Alabama (1989) and the Wave Field at the University of Michigan (1995).[16]

In 1994, she was the subject of the Academy Award-winning documentary Maya Lin: A Strong Clear Vision. The title comes from an address she gave at Yale in which she spoke of the monument design process. Talking about the origin of her work, Lin says “My work originates from a simple desire to make people aware of their surroundings and this can include not just the physical but the psychological world that we live in”.[5]

According to Maya Lin, art should be an act of every individual willing to say something new and that which is not quite familiar.[5] When a project comes her way, she tries to “understand the definition (of the site) in a verbal before finding the form. To understand what a piece is conceptually and what its nature should be even before visiting the site”.[5]

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.