By Cher Krause Knight, Harriet F. Senie
A spouse to Public Art is the one scholarly quantity to envision the most matters, theories, and practices of public artwork on a complete scale.
- Edited through distinct students with contributions from paintings historians, critics, curators, and artwork directors, in addition to artists themselves
- Includes 19 essays in 4 sections: culture, web site, viewers, and demanding frameworks
- Covers vital themes within the box, together with valorizing sufferers, public artwork 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 higher questions about an artist’s physique of labor and the sphere 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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Extra info for A Companion to Public Art
Women also used textiles in their protests, creating “arpilleras, sewn cloth collages on burlap backing,” that depicted their disappeared relatives. Lerer refers to these as “cloth counter‐ narratives,” an interesting populist parallel to the counter‐memorials discussed by Young. She also considers “the valorized status of victims’ families in the creation of collectively built memorials,” a theme that pertains to the subjects Senie takes up in her chapter as well. One important official memorial in Chile was sited in Santiago General Cemetery, suggesting a more natural form of death than violent state sponsored crimes.
All three of the artists’ philosophies and each of the five chapters in this part address such diverse aspects of memorials, variously defined. We have made a conscious decision to italicize the titles of memorials and monuments, thereby challenging the standard convention in the field. This is a choice we made after a long period of deliberation: we have thought for years, quite literally, about doing so as we continue to co‐edit the Public Art Dialogue journal. Since italics denote an art specific status, a way of saying: “This is the title of an artwork, which is worthy of its name and recognition,” the lack of italics, we believe, relegates monuments and memorials to a second‐class status.
The territory of art can now be opened up and returned to firsthand experience, allowing people to participate in the co‐production of value and meaning. In the same way that Mondrian turned to the colors red, yellow, and blue – seeking a universal language that could be experienced by anyone, irrespective of race, creed, or language – I turn to the universal experience of living within the body as the basis for work that celebrates life before art. 31 32 ◼ ◼ ◼ a n to n y g o r m l e y I think of art less as an object and more as a place: a place of reflection and imagination.
A Companion to Public Art by Cher Krause Knight, Harriet F. Senie