INTRO « In the 1970’s… the concept of site-specific work began to be applied to gallery installations and landscape sculpture. For public art it had a special relevance since it acknowledged and integrated the site as part of the content. Theoretically, a work was created for a specific site and thereby became part of it ». Critical issues in Public Art p 288 Public art and particularly its site-specificity has come a long way since the 1970s, and is now committing more than ever before to embody the city’s design. The attitude towards public art and its environment has shifted from an artwork placed in the public realm, but that essentially was no different from a bigger version found in museums and galleries, to one that is created as an …show more content…
As we have considered the social function of public art, some artists decide to focus on this characteristic as the main reason for their works to be considered as public art. As named by Malcolm Miles in his article « A green and Pleasant Land? » this type of public art is « issue specific » rather than site-specific. (Miles, 1998) Such public art includes works by Different approaches to this kind of work can be seen in the New York bus shelters of Dennis Adams and the numerous light projects of Krzysztof Wodiczko. Nonetheless this statement raises the question of the publicness of public art. As we have seen thus far, public art is not just considered as « Public Art » only because it stands in the common sphere. And it is not considered as such only because an artist as made it, and hence, will be comprehensively recognised as art. What makes a « Public Art », public art is the combinations of these characteristics along with an awareness of >>> Social Function Issue Specific
All of us grew up in places where we see how public space acts as a social glue. It is a space where the public can experience, values, history, interests and culture together. Public spaces give all of us a chance to relax after our busy lifestyles. It is a space where we can hang out, eat, play, show our culture or just simply sit on the benches and relax. Mike Davis’ chapter “ Fortress L.A.,” from City of Quartz, uses a prose style in describing how reconstruction in Los Angeles was made in a sense to improve the public spaces but, it changed public spaces drastically. The urban designers redeveloped Love Park, by claiming reconstructions can make park more tremendous vista. In certain cases, redevelopments of the public spaces can
Richard Serra, a known American sculptor, created an artwork called the “Tilted Arc” in the middle of Federal Plaza, in a downtown New York City business district. This curving wall of steel or CorTen steel was measured 120 feet long and 12 feet high made in 1981. Serra was commissioned to create this artwork for the Federal Plaza space; however, the public was against his art and was a target for criticism. Although the “Tilted Arc” was seemed as worthless and the “ugliest work of outdoor art”, people who opposed needed to understand that the point of art is not the “traditional” beauty, but the true meaning and the purpose of it. Many are narrowed minded when it comes to viewing and perceiving art, when it should be viewed by trying to understand
Art causes people to look a little closer. To look closer at the social issues, at other people and their emotions, at the environment that surrounded them, and the everyday objects and life forms around them. It helps them see what is there but not easily perceived. The artist brings out that which cannot be seen or felt easily. Art is usually about self-expression because the artist feels strongly enough about what they are doing to try and put it into a form that they, and others, can come to terms with. Landscape is a statement. Somehow the artist is trying to communicate an idea, an emotion, or a purpose in their work. It is about expressing their inner soul, bearing it all for the public. Landscape- represented more than I can fully explain in this paper.
What is ‘Art’? Does the term describe a tangible object, experiential event, process, technique, medium, or creative skill? Does it imply attractive decoration, pleasant arrangement, and sound financial investment - or can art provoke, be unattractive, make people uncomfortable, and be fleeting? Today, Art is subjective, open to interpretation and encompasses the spectrum of the visual, literary, dance, and musical humanities - often overlapping one another. As such, Art and its practice can be all of the above and more. Post World War II, Modernist theories were waning and a general dissatisfaction was building in the United States and other westernized countries that ultimately led up to the cultural and social revolution of the 1960’s. The period also parallels a rise in relative wealth and subsequent mass consumption of commodities, education, and cultural activities within all the socioeconomic classes. Personal expression became acceptable and art practice exploded to include multiple fields of activity that Rosalind Krauss likens to “an extraordinary practice in elasticity”. Interest in ecology, performance, process, alternative materials, a loosening of social mores and experimentation with altered states of reality contributed to the rise of what is now known amply as Postmodernism. Civil rights, the anti-war movement, rise of feminism, and a political movement left of center created egalitarian entrances for many into various fields of study including Art. Nevertheless, similar to the current state of Western Civilization, not everyone appreciates an open multiplicity of voices often differing in viewpoints from safer, more conservative ones. It is in this context that artists Robert Smithson and Richard Serra bega...
New York City has been called “the greatest city in the world” numerous times by its own people and visitors to the city. New York is civilization’s greatest world within a city. It gives the overpowering impression of being a magnet and mirror for all of humanity and all that humanity does. For a city so young, New York is home to number of architectural classics. Two of these masterpieces of architecture are the Metropolitan Museum of Art and the Guggenheim Museum. Both continue the metaphor of New York being a world within a world and possess the latent fusion of form and function, one dependent on the other. The Metropolitan Museum is the epitome of neo-Classical style while the Guggenheim is a modernist powerhouse. Each museum serves the same purpose: displaying humanity’s greatest achievements. By comparing and contrasting their history, location, façade and interior, I will investigate how they arrive at this goal in contrasting styles
Brisbane is a city that embraces the idea of public sculptures in the streets, which can be inspiring to fellow artists and people of Brisbane. Specifically, 'George V' and 'The Guardian' are to be compared and contrasted in their successes of enriching the community of Brisbane and influencing the people. Supporters and people of the city claim that both public arts enhance the streets although in very different ways. While both 'George V' and 'The Guardian' portrays a figure of some kind, 'George V' is more concerned with history while 'The Guardian' focuses on its symbolisms and objects that are shown.
She finds out that site matters, her art is like a land mark “I was here” usually captured by photos. “Nearly every sculpture in the study at one time or another served as a meeting place, providing an easily recognizable landmark.” Pg. 6 Most people don’t see art as art, only when it’s convenient to them. That’s when the land mark comes in, such as meet me by the giant dominos. Most people don’t notice the art at all. Usually art on the streets are vandalized, or invisible to many. Most public art is often ignored by immediate audience or used according to their everyday need” Pg. 1. Why even put the money out to make a couple thousand dollar sculpture, when nobody even notice it. A sculpture is a creative hard-working craft that takes months or years to make a single one that is either going to be ignored or
Art movement’s characteristics vary from nation to nation, but painting can be used as a critique of the socio-political reality in a given nation. It is a creative way to communicate with a population about economic, education and social issues. Therefore, The History of Cuernavaca and Morelos: Crossing the Barranca (ravine) Detail (1929-30) Fresco by Diego Rivera is a good example of how an artist uses his creativity to connect with people in relation to Mexican history. Art is an inspired way to share the complexity and challenge of a community. It can be used a way to respond to them likewise. Therefore, the concept of accessibility takes ingenuity. With his deepen knowledge of European and ancient Mexican art, it was not a documentation
In this semester, we have visited three public art agencies of NYC, which are the Percent for Art Program, the MTA’s Arts for Transit program, and Creative Time. These public art organizations commission public art to the public. They integrate and apply arts to sites through process and research based on artists’ practices. Public art agencies have similar goal that is to put artworks in appropriate sites and to get response from audiences. In this paper, I will discuss the three agencies we visited vary in rules of agency and patronage practices.
The Russian Revolution energized the artists to expand their social influence to produce statements that could inspire human aspirations. Rodchenko and El Lissitzky approached their avant-garde art practice in visually similar ways, but theoretically they varied considerably. Victor Margolin (1997) explored the two artists’ principal approaches to building their art and their commitment to the political influences of the time within his first essay in The Struggle for Utopia. Rodchenko felt the objects produced should ‘both facilitate change in people, making them more ideally Soviet, as well as represent Soviet ideals through their materials and construction’. Both artists sought to design architectural structures. Rodchenko was a Constructivist who strove to produce new, functional, material objects. His designs were not constructed around aesthetics; they were intended to be a catalyst for social change. Works like The Fut...
In order to create innovative public architecture, considered to be the most civic, costly, time intensive and physical of the arts, the project holds a degree of risk, strife, and negotiation . Overcoming these tasks and creating worthy public architecture is a challenge designers try to accomplish, but are rarely successful. The people involved in a potential public building, can be larger than the building itself. Public architecture tries to please all, even the doubters and critics, but because of the all these factors, a building is closer to failing than succeeding.
“In a decaying society, art, if it is truthful, must also reflect decay. Moreover, unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.” This quote by Ernst Fischer, a German composer, means that truth in art exposes the parts of society, and of life, that no one wants to see. In order for art to change society, it must first reflect the fears and failures of its people. The artist can change how people think of themselves and the world by using less conventional methods of creating art. The artist, in doing this, introduces new ideas of human placement in time and space, new frontiers of thought, that are furthered by the disciplines of science and philosophy. The artist works to introduces unique- and sometimes offensive- ideas so that society will be exposed to new ways of thinking and understanding the world. The artist does this through experimentation with color, style, and form. Therefore, the purpose of the artist should be to challenge how individuals perceive themselves and the offensive aspects of society reflected in art to bring about innovations in the greater society.
...d landscape materials in the galleries. Some of the large land art works can only be accurately enjoyed from some height by a plane or so. According to opponents, an art work should be open for every class of society. As viewing a large land art piece from the air is beyond the reach of poor person. But photographs are the best option to represent the huge and unreachable land artworks.
A city has to be beautiful, though the definition of “beauty” is so vague. The beauty can be physical, such as enjoyable parks, streetscapes, architectural facades, the sky fragment through freeways and trees; or it can be the beauty of livelihood, people, and history. As landscape architects, we are creating beautiful things or turning the unpleasant memorial.
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.