A Companion to Public Art by Cher Krause Knight, Harriet F. Senie

By Cher Krause Knight, Harriet F. Senie

A spouse to Public Art is the single scholarly quantity to envision the most matters, theories, and practices of public paintings on a entire scale.

  • Edited through exclusive students with contributions from paintings historians, critics, curators, and artwork directors, in addition to artists themselves
  • Includes 19 essays in 4 sections: culture, website, viewers, and demanding frameworks
  • Covers vital themes within the box, together with valorizing sufferers, public paintings in city landscapes and on collage campuses, the function of electronic applied sciences, jury choice committees, and the intersection of public paintings and mass media
  • Contains “artist’s philosophy” essays, which deal with greater questions about an artist’s physique of labor and the sector of public paintings, by way of Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.

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Norton & Company. Schacter, Daniel L. 1996. Searching for Memory: The Brain, the Mind and the Past. New York: Basic Books. Schiller, Herman I. 1989. : The Corporate Takeover of Public Expression. New York; Oxford: Oxford University Press. 12 ◼ ◼ ◼ C h e r K r a u s e K n i g h t a n d H a r r i e t F. S e n i e Senie, Harriet F. 1992. Contemporary Public Sculpture: Tradition, Transformation, and Controversy. New York; Oxford: Oxford University Press. Senie, Harriet F. 1999. ” In Billboard: Art on the Road.

The footfall of anyone walking is transmitted as a vibration to everyone else standing on it through their bare feet or through their whole bodies if they are lying down. When people decide to move together in the same direction, they can make it swing. This is a work in which the principles of democracy are turned into physical experience: the individual’s movements affect the group’s and the group’s affects the individual’s. It is also a site of proprioception, on the surface and through your feet you begin to register your own balance and chart your own course across an uncertain ground.

Historically the architect’s role has been to create a theater for action and of memory, capable of embodying truths that make it possible to affirm life and contemplate a better future. Projects, landscapes, and buildings, while becoming catalysts for the process of memory, serve to frame human experience. It is in the face of catastrophes, historic traumas, and human injustices that the architect’s and artist’s public roles become increasingly complex and problematic but also necessary. A memorial’s historic role is to preserve a memory of the past and provide conditions for new responses to and in the present.

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