William St. Clair
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780192880536
- eISBN:
- 9780191670596
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192880536.003.0023
- Subject:
- History, British and Irish Modern History
Lord Elgin's collection which is now officially referred to as the Elgin Marbles, was given in August 1816 to the British Museum. A temporary building was made by January 1817 wherein the British ...
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Lord Elgin's collection which is now officially referred to as the Elgin Marbles, was given in August 1816 to the British Museum. A temporary building was made by January 1817 wherein the British public was allowed to view the collection. As such, Lord Elgin felt that his original aim which concerned improving manufacturing and art in Great Britain had been achieved. It was this cause that persuaded the Select Committee to use British taxpayers's money to buy the collection. In general, England — the term which citizens used to refer to the entire United Kingdom — was believed to have triumphed in spite of all challenges and wars, and it was also ready for celebrating achievements and improvements in public art and literature.Less
Lord Elgin's collection which is now officially referred to as the Elgin Marbles, was given in August 1816 to the British Museum. A temporary building was made by January 1817 wherein the British public was allowed to view the collection. As such, Lord Elgin felt that his original aim which concerned improving manufacturing and art in Great Britain had been achieved. It was this cause that persuaded the Select Committee to use British taxpayers's money to buy the collection. In general, England — the term which citizens used to refer to the entire United Kingdom — was believed to have triumphed in spite of all challenges and wars, and it was also ready for celebrating achievements and improvements in public art and literature.
Kymberly N. Pinder
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252039928
- eISBN:
- 9780252098086
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039928.003.0001
- Subject:
- Art, Visual Culture
This book explores the visualization of religious imagery in public art for African Americans in Chicago between 1904 and the present. It examines a number of case studies of black churches whose ...
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This book explores the visualization of religious imagery in public art for African Americans in Chicago between 1904 and the present. It examines a number of case studies of black churches whose pastors have consciously nurtured a strong visual culture within their congregation. It features examples of religious art associated with some of Chicago's most historically significant black churches and art in their neighborhoods. It considers how the arts interact with each other in the performance of black belief, explains how empathetic realism structures these interactions for a variety of publics, and situates public art within a larger history of mural histories. It also highlights the centrality of the visual in the formation of Black Liberation Theology and its role alongside gospel music and broadcasted sermons in the black public sphere. Finally, the book discusses various representations of black Christ and other black biblical figures, often imaged alongside black historical figures or portraits of everyday black people from the community.Less
This book explores the visualization of religious imagery in public art for African Americans in Chicago between 1904 and the present. It examines a number of case studies of black churches whose pastors have consciously nurtured a strong visual culture within their congregation. It features examples of religious art associated with some of Chicago's most historically significant black churches and art in their neighborhoods. It considers how the arts interact with each other in the performance of black belief, explains how empathetic realism structures these interactions for a variety of publics, and situates public art within a larger history of mural histories. It also highlights the centrality of the visual in the formation of Black Liberation Theology and its role alongside gospel music and broadcasted sermons in the black public sphere. Finally, the book discusses various representations of black Christ and other black biblical figures, often imaged alongside black historical figures or portraits of everyday black people from the community.
Alison Bartlett
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781447338499
- eISBN:
- 9781447338543
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447338499.003.0015
- Subject:
- Sociology, Marriage and the Family
This chapter is grounded in the idea that more visual imagery of breastfeeding will contribute to its normalisation, and counter the commercial sexualisation of breasts. It suggests, however, that ...
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This chapter is grounded in the idea that more visual imagery of breastfeeding will contribute to its normalisation, and counter the commercial sexualisation of breasts. It suggests, however, that this strategy is not just about seeing but also about feeling. To demonstrate this the chapter turns to a controversial piece of public art — Patricia Piccinini's Skywhale — which was launched in Australia in 2013 and has been touring internationally. The Skywhale is a hot-air balloon in the shape of a fantastical creature of the imagination, which features five giant breasts on each side. This unexpected flying mammal provokes responses wherever it goes, and arguably provides productive ways of engaging public responses to breastfeeding and maternity. This chapter examines responses to Skywhale through broadsheet and social media, and then analyses its affective domain through psychoanalytic concepts and its materiality through the tradition of public art and monuments. The extremes of intimacy and monumentality configured through Skywhale offer an object par excellence for seeing breastfeeding writ large in the public domain, and for feeling the return of the maternal. The chapter argues that this is fundamental to a shift in perceiving breasts as maternal, and breastfeeding as normative.Less
This chapter is grounded in the idea that more visual imagery of breastfeeding will contribute to its normalisation, and counter the commercial sexualisation of breasts. It suggests, however, that this strategy is not just about seeing but also about feeling. To demonstrate this the chapter turns to a controversial piece of public art — Patricia Piccinini's Skywhale — which was launched in Australia in 2013 and has been touring internationally. The Skywhale is a hot-air balloon in the shape of a fantastical creature of the imagination, which features five giant breasts on each side. This unexpected flying mammal provokes responses wherever it goes, and arguably provides productive ways of engaging public responses to breastfeeding and maternity. This chapter examines responses to Skywhale through broadsheet and social media, and then analyses its affective domain through psychoanalytic concepts and its materiality through the tradition of public art and monuments. The extremes of intimacy and monumentality configured through Skywhale offer an object par excellence for seeing breastfeeding writ large in the public domain, and for feeling the return of the maternal. The chapter argues that this is fundamental to a shift in perceiving breasts as maternal, and breastfeeding as normative.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0005
- Subject:
- Art, Art History
Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and ...
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Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and promotion of present-day Shanghai and contemporary Chinese art. The chapter presents three Shanghai-based installations by transnational art stars Gu Wenda, Xu Bing, and Cai Guoqiang. Disrupting the East-meets-West soundbites surrounding discussions of these works, this chapter interrogates the artists’ privileged subject positions, arguing that such artworks function as branding campaigns that world Shanghai. The chapter also discusses the loaded cultural geographies of these installations’ shared sites: the Bund, once the heart of Shanghai’s British and US-controlled International Settlement, and the Pudong Skyline, considered the shining jewel of China’s post-socialist economic rise. The chapter concludes by discussing a more critical recent project by Cai Guoqiang that acknowledged the migrant labor fuelling Shanghai’s urbanization in the face of the 2010 Shanghai World Expo, and a related urban intervention by artist Ai Weiwei.Less
Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and promotion of present-day Shanghai and contemporary Chinese art. The chapter presents three Shanghai-based installations by transnational art stars Gu Wenda, Xu Bing, and Cai Guoqiang. Disrupting the East-meets-West soundbites surrounding discussions of these works, this chapter interrogates the artists’ privileged subject positions, arguing that such artworks function as branding campaigns that world Shanghai. The chapter also discusses the loaded cultural geographies of these installations’ shared sites: the Bund, once the heart of Shanghai’s British and US-controlled International Settlement, and the Pudong Skyline, considered the shining jewel of China’s post-socialist economic rise. The chapter concludes by discussing a more critical recent project by Cai Guoqiang that acknowledged the migrant labor fuelling Shanghai’s urbanization in the face of the 2010 Shanghai World Expo, and a related urban intervention by artist Ai Weiwei.
Heba Salem and Kantaro Taira
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789774165337
- eISBN:
- 9781617971303
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774165337.003.0005
- Subject:
- Society and Culture, Middle Eastern Studies
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product ...
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Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.Less
Draws on the concepts of striated and smooth space in Gilles Deleuze and Félix Guattari's A Thousand Plateaus to translate the politics of street art of the revolution as “a performance and product of aesthetic smoothing that resists the dominant striated narratives of the state.” As the author argues, street art becomes a way for Egyptians to reclaim and re-appropriate urban space. From the first tags that called for the downfall of the regime, to the rock formations made from crumbles of broken pavement in Tahrir, and the elaborate murals memorializing the martyrs, street artists have challenged the state's instruments of monopolizing public space and homogenizing Egyptian life and identity. Over the past months, Egypt's Military Council has mounted a “war on graffiti” targeting political artwork that is now widespread in Egyptian cities. Graffiti works inciting protest, or critiquing the military junta and the state security forces, or articulating the demands of the revolution, have systematically been painted over, dismantled, or “cleaned up” and several artists have been harassed and arrested by the Military Council for bringing art to the street in a clear show-down and contest over both public space and the space of visual consumption.
Margo Natalie Crawford
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780252041006
- eISBN:
- 9780252099557
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252041006.003.0007
- Subject:
- Sociology, Race and Ethnicity
The sixth chapter examines the role of inner and outer space in cultural productions of black post-blackness. Crawford develops a theory of black public interiority (a theory of black cultural ...
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The sixth chapter examines the role of inner and outer space in cultural productions of black post-blackness. Crawford develops a theory of black public interiority (a theory of black cultural movements’ ability to create a sense of shared interiority within the public space of the collective). She argues that the Black Arts Movement was aspiring for public art that could be experienced as both a black interior and an open space created by a collective. This chapter analyzes a range of installation art and other visual art, film, and letter writing that dramatize the black interior being experienced as the black outdoors. Crawford demonstrates that the BAM set in motion a vital process (that black aesthetics continue to engage) of refusing to allow black interiority to be defined as the province of the black bourgeoisie. The art examined includes installation art created by Kara Walker, outdoor murals, the film Night Catches Us, the letter writing of Carolyn Rodgers and Hoyt Fuller, and more.Less
The sixth chapter examines the role of inner and outer space in cultural productions of black post-blackness. Crawford develops a theory of black public interiority (a theory of black cultural movements’ ability to create a sense of shared interiority within the public space of the collective). She argues that the Black Arts Movement was aspiring for public art that could be experienced as both a black interior and an open space created by a collective. This chapter analyzes a range of installation art and other visual art, film, and letter writing that dramatize the black interior being experienced as the black outdoors. Crawford demonstrates that the BAM set in motion a vital process (that black aesthetics continue to engage) of refusing to allow black interiority to be defined as the province of the black bourgeoisie. The art examined includes installation art created by Kara Walker, outdoor murals, the film Night Catches Us, the letter writing of Carolyn Rodgers and Hoyt Fuller, and more.
Loren Kruger
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199321902
- eISBN:
- 9780199369270
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199321902.003.0006
- Subject:
- Literature, Drama, World Literature
Twenty-first-century Johannesburg juxtaposes post-metropolitan suburban sprawl in gated estates, informal settlements, privately funded simulations of public city space (Melrose Arch), and heritage ...
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Twenty-first-century Johannesburg juxtaposes post-metropolitan suburban sprawl in gated estates, informal settlements, privately funded simulations of public city space (Melrose Arch), and heritage monuments (Freedom Square Kliptown) with art and urban renewal projects embedded in the urban fabric. These include new structures like Constitution Hill, renovated buildings like Drill Hall, revived districts such as Maboneng and Sophiatown, and informally reanimated derelict sites such as the former Albert Street pass office and squatter encampments, which highlight ongoing wealth disparity and inequality of rights and access amid the real estate boom. Key players in urban planning and artistic reanimation include the Johannesburg Development Agency, Joubert Park Project, Trinity Session, Centre for Historical Re-enactments, William Kentridge, Lael Bethlehem, Stephen Hobbs, Maja Marx, and Gabi Ngcobo.Less
Twenty-first-century Johannesburg juxtaposes post-metropolitan suburban sprawl in gated estates, informal settlements, privately funded simulations of public city space (Melrose Arch), and heritage monuments (Freedom Square Kliptown) with art and urban renewal projects embedded in the urban fabric. These include new structures like Constitution Hill, renovated buildings like Drill Hall, revived districts such as Maboneng and Sophiatown, and informally reanimated derelict sites such as the former Albert Street pass office and squatter encampments, which highlight ongoing wealth disparity and inequality of rights and access amid the real estate boom. Key players in urban planning and artistic reanimation include the Johannesburg Development Agency, Joubert Park Project, Trinity Session, Centre for Historical Re-enactments, William Kentridge, Lael Bethlehem, Stephen Hobbs, Maja Marx, and Gabi Ngcobo.
Stacy L. Kamehiro
- Published in print:
- 2009
- Published Online:
- November 2016
- ISBN:
- 9780824832636
- eISBN:
- 9780824868864
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824832636.001.0001
- Subject:
- Society and Culture, Pacific Studies
This book offers an account of Hawaiian public art and architecture during the reign of David Kalākaua, who ruled the Hawaiian Kingdom from 1874 to 1891. The book provides visual and historical ...
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This book offers an account of Hawaiian public art and architecture during the reign of David Kalākaua, who ruled the Hawaiian Kingdom from 1874 to 1891. The book provides visual and historical analysis of Kalākaua's coronation and regalia, the King Kamehameha Statue, ‘Iolani Palace, and the Hawaiian National Museum, drawing them together in a common historical, political, and cultural frame. These cultural projects were part of the monarchy's effort to promote a national culture in the face of colonial pressures, internal political divisions, and declining social conditions for Native Hawaiians. The book interprets the images, spaces, and institutions as articulations of the complex cultural entanglements and creative engagement with international communities that occur with prolonged colonial contact. Nineteenth-century Hawaiian sovereigns celebrated Native tradition, history, and modernity by intertwining indigenous conceptions of superior chiefly leadership with the apparati and symbols of Asian, American, and European rule. The resulting symbolic forms speak to cultural intersections and historical processes, claims about distinctiveness and commonality, and the power of objects, institutions, and public display to create meaning and enable action. The book pursues questions regarding the nature of cultural exchange, how precolonial visual culture engaged and shaped colonial contexts, and how colonial art informs postcolonial visualities and identities.Less
This book offers an account of Hawaiian public art and architecture during the reign of David Kalākaua, who ruled the Hawaiian Kingdom from 1874 to 1891. The book provides visual and historical analysis of Kalākaua's coronation and regalia, the King Kamehameha Statue, ‘Iolani Palace, and the Hawaiian National Museum, drawing them together in a common historical, political, and cultural frame. These cultural projects were part of the monarchy's effort to promote a national culture in the face of colonial pressures, internal political divisions, and declining social conditions for Native Hawaiians. The book interprets the images, spaces, and institutions as articulations of the complex cultural entanglements and creative engagement with international communities that occur with prolonged colonial contact. Nineteenth-century Hawaiian sovereigns celebrated Native tradition, history, and modernity by intertwining indigenous conceptions of superior chiefly leadership with the apparati and symbols of Asian, American, and European rule. The resulting symbolic forms speak to cultural intersections and historical processes, claims about distinctiveness and commonality, and the power of objects, institutions, and public display to create meaning and enable action. The book pursues questions regarding the nature of cultural exchange, how precolonial visual culture engaged and shaped colonial contexts, and how colonial art informs postcolonial visualities and identities.
Tavia Nyong'o
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781479856275
- eISBN:
- 9781479806386
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479856275.003.0005
- Subject:
- Society and Culture, Gay and Lesbian Studies
By engaging interventionist art by women of color at two different scales—ephemeral body/earth art and monumental public art—this chapter supplements post-humanist theories of “deep time”—in ...
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By engaging interventionist art by women of color at two different scales—ephemeral body/earth art and monumental public art—this chapter supplements post-humanist theories of “deep time”—in particular, the temporality of the Anthropocene—with a concept of “dark time.” The intensive, alchemical, and obscure temporality of “dark time” is crucial to understanding black and brown feminist performance interventions against the violence of expropriative capitalism in the Americas. The chapter reads the art work of Kara Walker and Regina José Galindo through the poetry of Harryette Mullen and philosophy of Gilles Deleuze.Less
By engaging interventionist art by women of color at two different scales—ephemeral body/earth art and monumental public art—this chapter supplements post-humanist theories of “deep time”—in particular, the temporality of the Anthropocene—with a concept of “dark time.” The intensive, alchemical, and obscure temporality of “dark time” is crucial to understanding black and brown feminist performance interventions against the violence of expropriative capitalism in the Americas. The chapter reads the art work of Kara Walker and Regina José Galindo through the poetry of Harryette Mullen and philosophy of Gilles Deleuze.
Mayu Tsuruya
- Published in print:
- 2011
- Published Online:
- November 2016
- ISBN:
- 9780824834418
- eISBN:
- 9780824871239
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824834418.003.0005
- Subject:
- History, Asian History
This chapter examines sensō sakusen kirokuga, or war campaign documentary painting, a genre of painting that emerged as state-sponsored public art during the second Sino-Japanese War and the Pacific ...
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This chapter examines sensō sakusen kirokuga, or war campaign documentary painting, a genre of painting that emerged as state-sponsored public art during the second Sino-Japanese War and the Pacific War between 1937 and 1945. It first provides a background on how war documentary painting as a genre was born before discussing the ways in which official war documentary paintings are displayed, including military art exhibitions. It then considers developments that were important in the creative transition yōga painters made as part of the evolution of war documentary painting as public art, focusing on panorama painting, kaijō geijutsu (exhibition hall art), mural painting, and proletarian art. It also describes the Meiji Picture Gallery, along with war propaganda painting and the ideal of “self-effacement.” The chapter argues that war painting evolved from Japanese art of preceding periods in an environment where the importance of the general public had grown rapidly for both art production and the politics of war.Less
This chapter examines sensō sakusen kirokuga, or war campaign documentary painting, a genre of painting that emerged as state-sponsored public art during the second Sino-Japanese War and the Pacific War between 1937 and 1945. It first provides a background on how war documentary painting as a genre was born before discussing the ways in which official war documentary paintings are displayed, including military art exhibitions. It then considers developments that were important in the creative transition yōga painters made as part of the evolution of war documentary painting as public art, focusing on panorama painting, kaijō geijutsu (exhibition hall art), mural painting, and proletarian art. It also describes the Meiji Picture Gallery, along with war propaganda painting and the ideal of “self-effacement.” The chapter argues that war painting evolved from Japanese art of preceding periods in an environment where the importance of the general public had grown rapidly for both art production and the politics of war.
Monica Barra
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9780823257966
- eISBN:
- 9780823268924
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823257966.003.0015
- Subject:
- Society and Culture, Cultural Studies
This chapter examines the Towers within a convergence of several disparate, yet interconnected, discourses about cities, history, monumentality, and public art in order to demonstrate how Simon ...
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This chapter examines the Towers within a convergence of several disparate, yet interconnected, discourses about cities, history, monumentality, and public art in order to demonstrate how Simon Rodia's artwork gestures toward a particular production of space that is distinctly of a place, in general, and particularly Los Angeles. It first considers how narratives about cities and art circulate and interact in a fluid process of becoming within space and through time. Drawing on Italian writer Italo Calvino's work Invisible Cities, it uses the dialogic conversations about cities between the two main characters to begin to open up the possibility of reimagining how a place is collaboratively created through the stories told about it. From here it considers how storytelling as a form of history making is a salient way to think about how we teach and engage the politics of place. Finally, it looks into how embracing a more collaborative and processual approach to understanding urban environments based on narratives and storytelling interfaces with more specific theoretical engagements with the question of urban space.Less
This chapter examines the Towers within a convergence of several disparate, yet interconnected, discourses about cities, history, monumentality, and public art in order to demonstrate how Simon Rodia's artwork gestures toward a particular production of space that is distinctly of a place, in general, and particularly Los Angeles. It first considers how narratives about cities and art circulate and interact in a fluid process of becoming within space and through time. Drawing on Italian writer Italo Calvino's work Invisible Cities, it uses the dialogic conversations about cities between the two main characters to begin to open up the possibility of reimagining how a place is collaboratively created through the stories told about it. From here it considers how storytelling as a form of history making is a salient way to think about how we teach and engage the politics of place. Finally, it looks into how embracing a more collaborative and processual approach to understanding urban environments based on narratives and storytelling interfaces with more specific theoretical engagements with the question of urban space.
Emily Mark-Fitzgerald
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9781846318986
- eISBN:
- 9781781380949
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846318986.003.0006
- Subject:
- History, British and Irish Modern History
Although the majority of Famine monuments in Ireland and the diaspora have been privately conceived and funded by grassroots community groups, a small number of major commemorative efforts built ...
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Although the majority of Famine monuments in Ireland and the diaspora have been privately conceived and funded by grassroots community groups, a small number of major commemorative efforts built since 1990 have achieved widespread recognition and/or acclaim. This chapter offers six in-depth accounts of major Famine monuments in Mayo, Philadelphia, Boston, Dublin, Sydney and New York City. Each represent significant public art commissions approaching or exceeding $1 million in cost, as highly visible public engagements with Famine memory that have defined the careers of the artists charged with their execution. The political agency of their construction and the pressures evinced through patronage have made an indelible impact on their formal approaches and subsequent public reception. These memorials are the products of sustained, well-funded, and organised commemorative efforts and present an embodiment of Famine memory intended for significantly wider viewership. As a consequence, many bear the scars of protracted civic negotiation and politicised appropriation, of artistic vision and compromise, and of struggles between competing versions of Irish history and identity.Less
Although the majority of Famine monuments in Ireland and the diaspora have been privately conceived and funded by grassroots community groups, a small number of major commemorative efforts built since 1990 have achieved widespread recognition and/or acclaim. This chapter offers six in-depth accounts of major Famine monuments in Mayo, Philadelphia, Boston, Dublin, Sydney and New York City. Each represent significant public art commissions approaching or exceeding $1 million in cost, as highly visible public engagements with Famine memory that have defined the careers of the artists charged with their execution. The political agency of their construction and the pressures evinced through patronage have made an indelible impact on their formal approaches and subsequent public reception. These memorials are the products of sustained, well-funded, and organised commemorative efforts and present an embodiment of Famine memory intended for significantly wider viewership. As a consequence, many bear the scars of protracted civic negotiation and politicised appropriation, of artistic vision and compromise, and of struggles between competing versions of Irish history and identity.
Larissa Hjorth, Sarah Pink, Kristen Sharp, and Linda Williams
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780262034562
- eISBN:
- 9780262334013
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034562.003.0001
- Subject:
- Philosophy, Aesthetics
Each chapter in this book takes a different angle on the intersections between art, media, and environment. Chapter 1 functions as an introduction to the key debates informing art, media, and ...
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Each chapter in this book takes a different angle on the intersections between art, media, and environment. Chapter 1 functions as an introduction to the key debates informing art, media, and environment intersections. In this chapter we locate our motivations for this book and how overlays of art, media, and environment allow us to reimagine the region. In particular, we highlight the role of artists in exploring alternative ways in which to visualize, practice, and represent the environment.Less
Each chapter in this book takes a different angle on the intersections between art, media, and environment. Chapter 1 functions as an introduction to the key debates informing art, media, and environment intersections. In this chapter we locate our motivations for this book and how overlays of art, media, and environment allow us to reimagine the region. In particular, we highlight the role of artists in exploring alternative ways in which to visualize, practice, and represent the environment.
Griffin Epstein
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780813061603
- eISBN:
- 9780813051222
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061603.003.0004
- Subject:
- History, Cultural History
This chapter interrogates the racial, spatial, and colonial implications of two pieces of public art in a gentrifying Toronto neighborhood, looking for the ways that emotional memory, colonial ...
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This chapter interrogates the racial, spatial, and colonial implications of two pieces of public art in a gentrifying Toronto neighborhood, looking for the ways that emotional memory, colonial nostalgia, and fear shape both the built and discursive public domain. Using anti-colonial and anti-racist theories, this chapter also seeks to uncover the author's personal implications in re-ordering space as a white settler, social service worker, and former arts facilitator in the neighborhood.Less
This chapter interrogates the racial, spatial, and colonial implications of two pieces of public art in a gentrifying Toronto neighborhood, looking for the ways that emotional memory, colonial nostalgia, and fear shape both the built and discursive public domain. Using anti-colonial and anti-racist theories, this chapter also seeks to uncover the author's personal implications in re-ordering space as a white settler, social service worker, and former arts facilitator in the neighborhood.
Sharon Irish
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816660957
- eISBN:
- 9781452946276
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816660957.001.0001
- Subject:
- Architecture, Architectural Theory and Criticism
Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, ...
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Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women's consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. This book surveys Lacy's art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body—or animal organs—to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events—including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis—and pioneered a new genre of public art. This book investigates the spaces between art and life, self and other, and the body and physical structures in Lacy's multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.Less
Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women's consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. This book surveys Lacy's art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body—or animal organs—to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events—including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis—and pioneered a new genre of public art. This book investigates the spaces between art and life, self and other, and the body and physical structures in Lacy's multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.
- Published in print:
- 2011
- Published Online:
- June 2013
- ISBN:
- 9780804770187
- eISBN:
- 9780804777827
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804770187.003.0004
- Subject:
- History, European Modern History
This chapter examines the massive evacuation of public art collections to makeshift storage depots in chateaux throughout France, involving several hundred thousand objects from more than two hundred ...
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This chapter examines the massive evacuation of public art collections to makeshift storage depots in chateaux throughout France, involving several hundred thousand objects from more than two hundred museums. This highly organized artistic exodus illustrates the central government's control over the preservation of French national treasures, initiated during the final months of the Third Republic and reinforced under the Vichy regime. Arts officials also considered privately owned objects part of the national patrimony and evacuated several collections from private homes and galleries. The most prestigious private collections were owned by Jews who had voluntarily entrusted their assets to the public museum administration, an act of faith that led to continual conflicts between French and German officials.Less
This chapter examines the massive evacuation of public art collections to makeshift storage depots in chateaux throughout France, involving several hundred thousand objects from more than two hundred museums. This highly organized artistic exodus illustrates the central government's control over the preservation of French national treasures, initiated during the final months of the Third Republic and reinforced under the Vichy regime. Arts officials also considered privately owned objects part of the national patrimony and evacuated several collections from private homes and galleries. The most prestigious private collections were owned by Jews who had voluntarily entrusted their assets to the public museum administration, an act of faith that led to continual conflicts between French and German officials.
Larissa Hjorth, Sarah Pink, Kristen Sharp, and Linda Williams
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780262034562
- eISBN:
- 9780262334013
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034562.003.0006
- Subject:
- Philosophy, Aesthetics
Chapter 6 examines how contemporary cultural and local debates have engaged in effective environmental critique. It focuses in the strengths and limitations of art and social media as an effective ...
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Chapter 6 examines how contemporary cultural and local debates have engaged in effective environmental critique. It focuses in the strengths and limitations of art and social media as an effective method for rethinking climate change. In particular, this chapter considers how regional art responds to the theme of water, such as in the Australian-based Spatial Dialogues public art project, the Touchmedia—Eco Art project, Chen Qiulin’s River, River project in China, and Japanese projects such as the BOAT PEOPLE Association (BPA) and the Green Island Project.Less
Chapter 6 examines how contemporary cultural and local debates have engaged in effective environmental critique. It focuses in the strengths and limitations of art and social media as an effective method for rethinking climate change. In particular, this chapter considers how regional art responds to the theme of water, such as in the Australian-based Spatial Dialogues public art project, the Touchmedia—Eco Art project, Chen Qiulin’s River, River project in China, and Japanese projects such as the BOAT PEOPLE Association (BPA) and the Green Island Project.
Kymberly N. Pinder
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252039928
- eISBN:
- 9780252098086
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039928.003.0006
- Subject:
- Art, Visual Culture
This chapter examines contemporary black public art in Chicago, including Bernard Williams's black biblical figures in the apse of Saint Edmund's Episcopal Church. As a principal artist in the ...
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This chapter examines contemporary black public art in Chicago, including Bernard Williams's black biblical figures in the apse of Saint Edmund's Episcopal Church. As a principal artist in the Chicago Public Art Group (CPAG), Williams has been the lead restorer for most of murals by William Walker. The Saint Edmund's committee directed the content of Williams's mural at the church in relation to the newly installed stained glass program of important black heroes. Father Richard Tolliver considered murals and stained glass an integral part of his revitalization of Saint Edmund's. Williams also helped restore Frederick D. Jones's mural at the First Church of Deliverance (FCOD) and created a number of local community murals. The chapter concludes with a discussion of Damon Lamar Reed's mural ministry consisting of murals, graffiti, rap music, and T-shirts. Like the conflations of the black Christ with the pastor at Pilgrim Baptist Church and FCOD, Reed's work merges the painted image of Jesus with that of a real black body, the one within the T-shirt.Less
This chapter examines contemporary black public art in Chicago, including Bernard Williams's black biblical figures in the apse of Saint Edmund's Episcopal Church. As a principal artist in the Chicago Public Art Group (CPAG), Williams has been the lead restorer for most of murals by William Walker. The Saint Edmund's committee directed the content of Williams's mural at the church in relation to the newly installed stained glass program of important black heroes. Father Richard Tolliver considered murals and stained glass an integral part of his revitalization of Saint Edmund's. Williams also helped restore Frederick D. Jones's mural at the First Church of Deliverance (FCOD) and created a number of local community murals. The chapter concludes with a discussion of Damon Lamar Reed's mural ministry consisting of murals, graffiti, rap music, and T-shirts. Like the conflations of the black Christ with the pastor at Pilgrim Baptist Church and FCOD, Reed's work merges the painted image of Jesus with that of a real black body, the one within the T-shirt.
Amanda Boetzkes
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816665884
- eISBN:
- 9781452946450
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816665884.001.0001
- Subject:
- Art, Art Theory and Criticism
Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art ...
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Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. This book analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. The book contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work—film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows—earth artists articulate the dilemma of representation that nature presents.Less
Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. This book analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. The book contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work—film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows—earth artists articulate the dilemma of representation that nature presents.
Andrew Theokas
- Published in print:
- 2004
- Published Online:
- June 2013
- ISBN:
- 9780853235392
- eISBN:
- 9781846314643
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846314643
- Subject:
- Society and Culture, Cultural Studies
Garden Festivals are more than temporary horticultural expositions. Complex and phased, these projects have additional significance as planning stratagems, reclamation projects, public art venues, ...
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Garden Festivals are more than temporary horticultural expositions. Complex and phased, these projects have additional significance as planning stratagems, reclamation projects, public art venues, and precursors of new urban parks. Their scope extends well beyond that implied by the term ‘garden festival’. Typically exceeding 50 hectares, they stimulate development and steer site design through a unique merger of domestic garden culture with a large-scale urban project. A general discussion of the origins, formative elements, and chronology of the generic event followed by cross-cultural reviews and analyses of numerous recent festivals and their site legacies form the core of this comprehensive book on the subject. Recent installations have been responsive to the ascendance of open space as a critical planning element while forthcoming events now develop in the midst of a trend towards the holistic initiatives of urban landscape planning, giving them a renewed relevance for urban design. The author has explored over fifteen festival sites and documents this study using government reports, interview transcripts, thematic maps, master plans, and other primary source material.Less
Garden Festivals are more than temporary horticultural expositions. Complex and phased, these projects have additional significance as planning stratagems, reclamation projects, public art venues, and precursors of new urban parks. Their scope extends well beyond that implied by the term ‘garden festival’. Typically exceeding 50 hectares, they stimulate development and steer site design through a unique merger of domestic garden culture with a large-scale urban project. A general discussion of the origins, formative elements, and chronology of the generic event followed by cross-cultural reviews and analyses of numerous recent festivals and their site legacies form the core of this comprehensive book on the subject. Recent installations have been responsive to the ascendance of open space as a critical planning element while forthcoming events now develop in the midst of a trend towards the holistic initiatives of urban landscape planning, giving them a renewed relevance for urban design. The author has explored over fifteen festival sites and documents this study using government reports, interview transcripts, thematic maps, master plans, and other primary source material.
