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Dissertations / Theses on the topic 'Art public'
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1
Dear, Jackie. "What possibilities for art are represented by the 'new' and the 'public' of new genre public art." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310054.
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Williams, Stephanie Danielle. "ART AT THE AIRPORT AND THE INTERSECTION OF PUBLIC ART AND PUBLIC HISTORY." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/448628.
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HistoryM.A.
This thesis is a study of the intersection of public art and public history in Philadelphia. This project looks at Philadelphia based case studies to see how the intersection of public art and public history can bring in new audiences, act as a form of advertisement, and shape interactive experiences for visitors. Connecting to a body of literature that deals with the power of place, I ask in this study how public history in unexpected places has the power to bring in new audiences that may not have the chance or even want to visit a traditional history museum or historic site. How do these projects and programs serve a community? The study features the history of Art at the Airport, an international series of art exhibits and programs at major airports. Among these, the Philadelphia International Airport’s Art at the Airport program exhibits traditional and innovative art and regularly features historic content. Any airport today is a place of high stress, but surveys of airport visitors indicate that for some art has the ability to relieve anxieties. So what happens when public art and public history collide in this space? While studying Art at the Airport as an intern, I witnessed people who stopped, learned, and gained knowledge of history in a public setting without a book, a teacher, or tour guide. This study allows me to show the power of public history and public art.
Temple University--Theses
3
Higgins, Darcy. "Marked Space: Public Art and the Public Sphere." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1307382998.
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Cartiere, Cameron. "RE/placing public art : the role of place specificity in new genre public art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2301/.
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This research is an exploration of the development and influence of place-specificity within the field of new genre public art. Over the last several years the term place-specificity and its variance, place-specific has occurred frequently in art reviews and exhibition catalogues particularly in relation to installations, permanent public art works, and public interventions. While place-specificity is now a recognised term in the current lexicon of public art discussion, within many texts the phrase place-specific is often indiscriminately interchanged with site-specific, implying that the two terms are synonymous. While the relationships between site, space, and place are actively explored within fields such as geography,cultural studies and architecture, distinctions between site-specificity and place-specificity have rarely been critically addressed in discussions of public art. Based on both theory and curatorial practice, this thesis explores a range of perspectives on the role of place within socially engaged public art practice. The study examines the difference between site and place and how place influences our perceptions of specific locations through memory, history and experience. The thesis explores place as a subject, an artistic influence, and a social and cultural signifier. Also examined is how artists use place as a means of connecting to specific locations and audiences, as well as a way of exploring their personal histories and memories. Utilising a combination of approaches, this study incorporates naturalistic enquiry, conversation as a method, a think-tank, interviews, and video documentation to uncover how a group of public art practitioners reflect on place-specificity within their work, how they utilise place, and are influenced by place. The research reflects on the potential of place-specific public art to celebrate unique cultural differences, inspire international collaboration, and provide a forum for local distinctiveness in the face of globalization The study also serves as one model for practice-based research utilising curatorship as a practice. This study identifies further areas for potential research within various aspects of art and design as well as other disciplines. The thesis is accompanied by a suite of DVD's which document the curatorial practice and address place-specific themes that emerged from the research.
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Cavendish, Maia. "Public Art and Residual Urban Spaces : The Case for Informal Public Art in Stockholm." Thesis, KTH, Urbana och regionala studier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-256316.
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While Stockholm has made significant investments in formal public art throughout the inner city and suburbs, the city has a lack of informal public art. Defined as a feature or work produced by a person who considers themselves to be an artist or craftsperson, located in a place accessible to and used by the public, public art can be either formal or informal. Informal public art generally has no formal process, with flexibility on the temporal nature of the work, materials and subject. This allows the artwork to inhabit spaces which are overlooked or underinvested in by formal public art commissioning bodies, and not have to follow formal public art requirements which are part of the broken “public art machine”. (Phillips, 1988). Much of Stockholm’s urban environment is considered beautiful, has heritage value and/ or is protected. But Stockholm also hosts many spaces in between – spaces that hold the city together, including infrastructure, bridges, alleys, and the places under and between them. These spaces can be labelled as a city’s residual spaces (Villagomez, 2010), and are where informal public art can be utilised to make these spaces into places. This study outlines the importance of and background to public art in the context of Stockholm. A survey of Stockholm’s residents, visitors and potential future visitors established how they feel about public art in the city, as well as in residual urban spaces, and to what extent it assists with establishing a place connection. This was accompanied by onsite interventions and observational analysis which challenged the way residual urban spaces are being used in Stockholm, and developed a case for how informal public art can be incorporated in the city’s residual urban spaces.
6
Bennett, Josephine. "Marketing public art : public art, urban cultural policy and the role of relationship marketing." Thesis, Queensland University of Technology, 2000.
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7
Cheung, Wai-ting Stephanie, and 張慧婷. "Public art in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29521749.
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Badger, Paul Allen. "Some thoughts on public art." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314892610.
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Baldini, Andrea. "Public Art: A Critical Approach." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/240857.
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PhilosophyPh.D.
In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance.
Temple University--Theses
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Norman, Garrett Tyler. "Pismo Beach Public Art Program." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1182.
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Public art plays a significant role in communities around the world. It embodies a close relationship between the artist, the space in which it’s being exhibited, and the public. The development of this project examined various literary sources that demonstrated the importance of public art and how cities, artists, and community members may benefit from the incorporation of public art. This project included the framework for development of a Public Art Program for the City of Pismo Beach, California, which outlined the critical steps of a planning process and implementation of the program.
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Longo, Sheila A. (Sheila Ann). "Construction and installation of public comfort art : "Art as sanctuary"." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32952.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.Includes bibliographical references (leaf 29).
This paper illustrates the construction and installation of a public piece of art, hidden within which is an enclosed and private meditation space. In making the piece, the artist was influenced by the works of others as well as by her own previous works and personal experiences. The theory of deep touch pressure can be extrapolated to associate encapsulation within small, enclosed spaces with relaxation and the relief of anxiety. Through the fluid process of aesthetic development, the work evolved towards completion and fulfillment of the piece's goals. The result was a basket-like structure containing a close and comfortable space for decompression. Geared towards the MIT community, the piece also explored the effects of isolation and connectivity. Viewer interaction, made possible by a period of public display, remains a critical component of this artwork. There are various directions in which to move forward with the investigation, one of which is to explore the dynamics of multiple pieces in a single location.
by Sheila A. Longo.
S.B.
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Knight-Mudie, Karen, and n/a. "Attitudes towards art competitions of senior secondary art students and teachers." University of Canberra. Education, 1988. http://erl.canberra.edu.au./public/adt-AUC20060811.154408.
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Growing concern for the popularity of art competitions
that encourage participation of secondary school senior
art students is reflected in debate by many Australian
art educators. It appears that acceptance of the
external goal of winning a prize may demonstrate that
many students and teachers have not fully considered
the adverse implications of extrinsic rewards on
learning strategies relevant to artistic behavior. On
the other hand the benefit of exhibitions of student
art work appears to be overshadowed by the prevalence
of art competitions.
This study surveys attitudes and perceptions of art
teachers and secondary senior art students towards art
competitions supported by the school.
Subjects include secondary senior art students and
teachers from selected Brisbane Independent Schools.
It appears that participation in art competitions is more frequent in these schools. Results may prove
beneficial to art educators who are concerned with the
issue of extrinsic rewards for artistic behavior.
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MAZZUCOTELLI, SALICE SILVIA. "L'ARTE DELLO SPAZIO PUBBLICO: ATTORI E PRATICHE DELLA PUBLIC ART." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/677.
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Questa dissertazione si propone di contribuire alla riflessione teorica sulle trasformazioni della città contemporanea, che discipline come la sociologia urbana e, nell’ultimo decennio, la sociologia della cultura, stanno portando avanti; vorrebbe, in particolare, costruire dei ponti tra queste e la produzione artistica per lo spazio pubblico che va sotto il nome di Public Art.
Il mutato rapporto fra forma fisica della città, modelli produttivi e modalità di uso degli spazi pubblici ha contribuito a stimolare la formazione di nuovi ambiti di elaborazione dell’identità collettiva.
Attraverso uno studio qualitativo realizzato in Italia e negli Stati Uniti, mostra come l'Arte Pubblica obblighi l’arte e gli artisti ad una ridefinizione del loro ruolo “pubblico”: la sperimentazione di nuove strategie di comunicazione simbolica nello spazio pubblico e la ricerca di un confronto con la dimensione locale del territorio fanno della Public Art un’innovativa formula di rappresentazione e rappresentatività del territorio.This dissertation contributes to the ongoing debates about the transformations of contemporary cities, which has long invested urban sociology and, more recently, has become a concern in the sociology of culture. It also explores the possibility to build bridges between these disciplines and the production of art in public space known as Public Art. The transformed relationship between the city’s physical form, its production systems and the different ways in which public space is used nowadays creates new areas for the elaboration of social identities. Through a qualitative study carried out in Italy and the United States, it also shows how contemporary Public Art requires a redefinition of the “public” role of art and artists: as it tests new strategies of symbolic communication in public space and it tries to get in contact with the local dimension, Public Art becomes an innovative formula of representation of the territory.
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MAZZUCOTELLI, SALICE SILVIA. "L'ARTE DELLO SPAZIO PUBBLICO: ATTORI E PRATICHE DELLA PUBLIC ART." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/677.
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Questa dissertazione si propone di contribuire alla riflessione teorica sulle trasformazioni della città contemporanea, che discipline come la sociologia urbana e, nell’ultimo decennio, la sociologia della cultura, stanno portando avanti; vorrebbe, in particolare, costruire dei ponti tra queste e la produzione artistica per lo spazio pubblico che va sotto il nome di Public Art.
Il mutato rapporto fra forma fisica della città, modelli produttivi e modalità di uso degli spazi pubblici ha contribuito a stimolare la formazione di nuovi ambiti di elaborazione dell’identità collettiva.
Attraverso uno studio qualitativo realizzato in Italia e negli Stati Uniti, mostra come l'Arte Pubblica obblighi l’arte e gli artisti ad una ridefinizione del loro ruolo “pubblico”: la sperimentazione di nuove strategie di comunicazione simbolica nello spazio pubblico e la ricerca di un confronto con la dimensione locale del territorio fanno della Public Art un’innovativa formula di rappresentazione e rappresentatività del territorio.This dissertation contributes to the ongoing debates about the transformations of contemporary cities, which has long invested urban sociology and, more recently, has become a concern in the sociology of culture. It also explores the possibility to build bridges between these disciplines and the production of art in public space known as Public Art. The transformed relationship between the city’s physical form, its production systems and the different ways in which public space is used nowadays creates new areas for the elaboration of social identities. Through a qualitative study carried out in Italy and the United States, it also shows how contemporary Public Art requires a redefinition of the “public” role of art and artists: as it tests new strategies of symbolic communication in public space and it tries to get in contact with the local dimension, Public Art becomes an innovative formula of representation of the territory.
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Sin, Ka-ki. "Narrator-public art landscape regeneration strategy /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34609659.
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Sin, Ka-ki, and 冼家琪. "Narrator-public art landscape regeneration strategy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.
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Prokůpek, Marek. "Performance Measurement of Public Art Museums." Doctoral thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-264709.
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The issue of the economics of cultural institutions, their economic impact, and measurement of their performance has been paid systematic attention basically only in the past few years. PhD thesis analyses the methods of performance measurement in public art museums and creates economic models. Aim of my thesis is also to create a model for museum managers to measure the performance. Nowadays it is almost necessary to integrate performance measurement system in organization´s strategy decision making. The museum managers feel the pressure to prove that their organization is performing well by various stakeholders and we perceive the idea that multidimensional performance measures could fill the informational gap concerning performance, quality, and the artistic value of cultural programs. The mixed research method was employed in this research. Qualitative data was obtained from the questionnaire and interviews. Quantitative data was obtained from the questionnaire, annual reports and reports of The National Information and Consulting Centre for Culture (NIPOS). The aim of this study is to propose a comprehensive multidimensional model to assess art museum activities. This model takes into account the scope and character of museum´s mission. This model consists of implementation of Data Envelopment Analysis into Balanced Scorecard.
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Wallace, Glenn. "Emancipatory Gestures: Public Art as Dissensus." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18828.
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This thesis explores the idea of public art as dissensus. In contrast to public art being used by government as a tool for consensus, the thesis shows dissensus, understood as the political effect of aesthetic experience, at work in eight contemporary public artworks produced in Sydney between 2005 and 2015. I argue that these public artworks operate as emancipatory gestures in that they demonstrate the capacity of artists and government to harness the dissensual effect of art and critically reflect on the fabric of commonplace practices, discourses and institutions shaping the city today. The research has been guided by two related contentions. The first contention, raised by leading critics, including artists, urbanists, sociologists and political philosophers, is that artists are necessary to reveal and transform the inequality cities produce. The second contention, by philosopher Jacques Rancière, denies that the calculations of artists can directly transform everyday experience or politics. Despite this Rancière argues that dissensus provides a way to reconfigure the unequal experiences cities produce. He claims that the indeterminate effect of aesthetic experience suspends the obviousness and naturalness of the rules that govern art and the way cities are produced and ordered. Based on these considerations, the thesis focuses on dissensus in the context of Sustainable Sydney 2030, the City of Sydney Council’s overarching strategy adopted in 2008 to create a sustainable city. It considers the demands by critics for artists to engage with the way cities are produced and the causes they effect, against the City’s claim that public art supports sustainability by improving the prosperity and liveability of the city. Ultimately, I conclude that beyond conforming to an image of a prosperous, liveable and sustainable city, the production of public artworks demonstrating dissensus indicate the city’s democratic potential and its capacity to achieve equality for everyone.
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Conklin, Tiffany Renée. "Street Art, Ideology, and Public Space." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/761.
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The concept of the city has come to play a central role in the practices of a new generation of artists for whom the city is their canvas. Street art is a complex social issue. For decades, its presence has fueled intense debate among residents of modern cities. Street art is considered by some to be a natural expression that exercises a collective right to the city, and by others, it is seen as a destructive attack upon an otherwise clean and orderly society. This research focuses on various forms of street art from the perspective of the urban audience. The general aim is to further an understanding of how people interact with and respond to street art. Qualitative and quantitative data were gathered via direct participant observations of street art installations and 139 surveys conducted with residents in Portland, Oregon. Survey respondents distinguished between street art forms; generally preferring installations and masterpieces over tagging and stickers. More respondents considered graffiti to be a form of artistic expression, rather than an act of vandalism. Participant observations indicated that purposefully-designed street art can promote interaction between people, art, and public space. Random urban spectators became active collaborators; using art and performance to express themselves in public. These findings indicate there is a need to reconsider zero tolerance graffiti policies. Overall, these findings also contribute to a more informed discussion regarding the regulation, acceptability, and possibilities of unauthorized artistic expression in cities.
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To, Yick-yam Percy. "A public art crossover the art asteroid in San Po Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B3198728X.
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Healy, C. "Is public art a waste of space? : an investigation into residents' attitudes towards public art in Harlow." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444238/.
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Public art has undergone somewhat of a renaissance over the last 20 years, with now over 70% of urban planning authorities including policies for artwork. With this renaissance, public art has moved into the realm of urban design and regeneration, with advocates claiming public art helps in developing a sense of place, identity and community. Public art is also attributed to functioning as a landmark for improving legibility and navigating. Yet popular press would have us believe that people are somewhat disgruntled with their public art. As the voices of the public are fundamentally absent from critical literature, this study seeks to address this gap through two main questions firstly, the extent to which the advocacies for public art relate to the attitudes held by the public and, secondly, the degree to which public art functions as a landmark by residents. In addressing these questions, research was undertaken in Harlow, a new town that has integrated public art in its planning. Resident attitudes were collected through questionnaires followed by two focus groups. This study shows a clear appreciation of local artist Henry Moore, whose sculptures were felt to give something unique to Harlow. Yet the proliferation of 'parachute' art was believed to limit public art's ability to create a sense of place. Residents found it hard to relate to more abstract public artwork, placing value in sculptures that reflected the town's history in order to develop a sense of identity. The study also shows the value placed by residents in participation in the creative process of their public artwork in developing a sense of community. Finally, the study reveals that public art in general is poorly used as a landmark in navigating. Yet certain sculptures did contribute to Harlow's legibility, mainly those with strong associations, form and a contrasting, prominent spatial location.
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Woods, Ruth. "Shopping with Art : How Art Creates its Role in Public Places." Doctoral thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for byggekunst, form og farge, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-16253.
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To, Yick-yam Percy, and 杜亦蔭. "A public art crossover: the art asteroid in San Po Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B3198728X.
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McKnight, Calvin (Calvin Bruce) Carleton University Dissertation Geography. "Public art and urban spaces; the place of art in the public interest in the National Capital Region." Ottawa, 1996.
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Dunbar, Nina L. "Public arts administration and the Public Art Fund inc. : a report." ScholarWorks@UNO, 1988. http://scholarworks.uno.edu/aa_rpts/72.
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The subject of this report concerns one organization that has been at the forefront of the contemporary public art movement. The Public Art Fund Inc., an eleven year-old, private nonprofit organization dedicated to the integration of art in urban settings, can be viewed as a case study in the challenges and problems of public art administration. Founded one decade after the newly created National Endowment for the Arts awarded its first grant for a public art project in 1967, the Public Art Fund has grown with the public art movement by adapting with innovation and dedication to its changing concerns. Exploring the strengths and weaknesses of the Public Art Fund offers insight into special nature of public art administration as well as into
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Petrova, Denitsa. "Public Art 2.0 : developing shared platforms for creativity in public spaces." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25670.
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This research explores parallels, connections and synergies between public art, artistic practice beyond the gallery context, and Web 2.0, the Internet platform for user‐ generated content, online communication medium and host for web-based communities. I look at the impact, actual and potential, of Web 2.0 on the ways in which public art is made. Through Web 2.0 a different set of criteria and methods can be established in order to re-examine the practice of art. What can public art learn from Web 2.0? What are the possible debates that Web 2.0 can provoke in the field of public art? What novel forms of audience engagement with, and participation in, public art could be inspired by the practices of co-creation and sharing integral to Web 2.0? Has the relationship between artists and audience changed because of Web 2.0? Web 2.0 prompts us to reconsider the ways in which public art is produced. In my approach I take into consideration that Web 2.0 is useful in expanding the possibilities of public art by providing a unique opportunity for shared creativity in the public space. I call this field Public Art 2.0. This study considers the attributes of Web 2.0 as a methodological framework for public art. It offers a reconsideration of the understanding of the contentious issues surrounding the practice using Web 2.0 as a platform of shared creativity. To validate this argument further, this research investigates two case studies: the Big Art Mob (2006) and the Bubble Project (2002). Both initiatives represent an area where public art and Web 2.0 intersect. This thesis includes a report of findings from qualitative interviews with members of both projects. Public Art 2.0 is a hybrid type of practice that borrows from the digital world and applies the principles of Web 2.0 in the physical space. Public Art 2.0 is a creative space where changes are welcomed at any time. Public Art 2.0 is open source — a process of creation, encouraging multi-authorship and shared creativity. Public Art 2.0 is viral — it can be replicated and re-presented many times by anyone that wishes to do so. Public Art 2.0 is a platform that anyone can build upon and a process that enhances the ability to create together.
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Toussaint, Jacques Heinrich. "Le citoyen et la commande : l’art public dans l’espace public en France et Allemagne (1973-2008)." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080123.
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Cette thèse se penche sur la commande d’art public dans l’espace public entre 1973 et 2008 en France métropolitaine et en Allemagne. Sans perdre de vue les œuvres d’art elles-mêmes dans toute leur diversité, il s’agit d’examiner les politiques institutionnelles de ces deux régimes démocratiques, en particulier la commande publique en France et, outre-Rhin, les programmes municipaux de Kunst im öffentlichen Raum des villes-États de Brême et de Hambourg. Ces dynamiques répondent à des climats politiques et culturels fort différents, mais selon une idée commune (quoique parfois vague) : la démocratisation de l’accès à la culture. Cette attention au(x) public(s) nous engage à questionner l’importance variable donnée aux citoyens selon le contexte historique et politique, en étudiant notamment leur rôle dans les processus décisionnels, les enjeux liés à la médiation, et l’inclusion d’œuvres participatives ou collaboratives.Ainsi, nous menons une comparaison raisonnée de ces perspectives nationales, prenant comme point de départ l’historique de leur développement, en nous appuyant sur un large corpus de littérature critique et théorique, d’archives institutionnelles, et d’entretiens. Ce travail de synthèse, étayé et illustré par le commentaire de réalisations artistiques variées, nous permet de dégager différences et similitudes avec finesse. Nous adoptons enfin une perspective transnationale propice à l’esquisse d’une typologie de la prise en compte du citoyen dans l’art public dans l’espace publicThis thesis examines the commissioning of public art in public spaces between 1973 and 2008 in metropolitan France and Germany. Without losing sight of the artworks in all their diversity, our aim is to examine the institutional policies of these two democratic regimes, in particular the commande publique in France and, on the other side of the Rhine, the municipal programmes of Kunst im öffentlichen Raum of the city-states of Bremen and Hamburg. The dynamics we analyse respond to very different political and cultural contexts, but they are deployed in relation to a common (though sometimes vague) idea: the democratisation of access to culture. The public and the publics are taken into account, a concern which leads us to question the varying importance given to citizens, relatively to historical and political contexts. We especially address their role in the decision-making processes, in the issues related to mediation, and in the inclusion of participative or collaborative works.Consequently, we conduct a careful comparison of both national perspectives, using their inception as an historical starting point, and drawing from a large body of critical and theoretical literature, institutional archives, and interviews. Such a synthesis, supported and illustrated by informed commentaries of various artistic achievements, allows us to pinpoint crucial and subtle differences and similarities. Finally, we take on a transnational outlook to outline a typology of the involvement of citizens in the commissioning of public art in public spaces
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Oketch, Francis Onyango. "Art and conversation : disturbation in public space." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:7b5abb31-0fed-44fb-bcd1-91e1fa96bd58.
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Arthur C. Danto introduced the term “disturbation” in 1985 to denote artworks that confront audiences with the materials of reality in order to produce reactions that are continuous with those of real life. Danto argued that disturbational art dissolve the distance between representation and reality opened up by Platonic metaphysics and by the insertion of theatrical distance, returning art to its mimetic and magical phase. The thesis uses Danto’s conceptual framework to develop a critical account of artworks that use politics as the medium for their disturbational content by creating relationships with audiences that provoke the re-realization of attitudes, experiences and identities that have been suppressed. In Shibboleth (2007) by Doris Salcedo, disturbation takes the form of the ‘political uncanny’ and in the case of Domestic Tension (2007) by Wafaa Bilal, it takes the form of the ‘political abject’. The thesis argues that Shibboleth confronted audiences with “the return of the repressed” through a disturbational process of interaction with the space of the Turbine Hall at Tate Modern. Departing from existing readings of Salcedo’s work, the thesis proposes that the installation provoked the experience of the political uncanny by physically enacting suppressed historical, economic and political divisions constructed upon a friend/enemy form of relationship. Likewise, the thesis argues that the use of virtual electronic media in the process of participation in Domestic Tension radically altered the structure of collaborative activities by its production of the abject through the detachment conferred by distance and anonymity. The degree of self-censorship and accountability that exists in face to face interactions was nullified by the process of remote participation which encouraged deindividuation and anti-social or dehumanizing behavior. The tendency towards dehumanization becomes intensified when the artwork’s content is political, thereby provoking hostile and distancing effects refracted by contemporary geopolitics.
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Papadaki, Elena. "Curating screens : art, performance and public spaces." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11255/.
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Based on theoretical research (for example Fried 1967; Krauss 1979; Graham & Cook 2010; Mondloch 2010; Trodd 2011) and five distinctive art case studies (Videographies: The Early Decades [2005], China Power Station: Part I [2006]), performance ( ... some trace of her [2008]) and public spaces (Under Scan [2008] and Temenos 2012 [2012]) this thesis traces the interrelation between curating, institutions and exhibition practices through screen-based works, specifically using the term to denote screen media in physical space and within an arts context. The field of curatorship in relation to the above is foregrounded, paradigm shifts explored, and changing relationships between audience and display examined. In the five case studies, the curator is respectively a member of the permanent museum staff, a theatre director in collaboration with a video artist, an artist in collaboration with a team of assistants and technicians, and a filmmaker who re-enacts the vision he shared with his long-term partner. I argue that the role of the curator has moved away from being the solely the keeper of a museum to a more complex range of public activities and promotions just as screen media operates within an interdisciplinary field of practices. The thesis claims that the different spaces in which screen-based habitus operates need to be renegotiated. Blurring the boundaries between disciplines, I provide a conceptual framework and a rationale for analysing how screens can be curated by emphasising the challenges that arise when screens are no longer contained within a museum space. New juxtapositions between work, audience, and context emerge, which I question and place under scrutiny.
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Di, Mauro Salvatore Mario. "Public Art: A Catalyst for Community Engagement." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367985.
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This exegesis revolves around my research question: Is community participation an appropriate approach to creating public art in regional Queensland? It is informed by my experience of directing public art in regional Queensland over the last two decades. My investigation, which employs a reflective methodology, will attempt to address and answer why and how the process of community consultation and participation is essential to the relevance and longevity of public art projects. In doing so, I will engage with a number of case studies to position, problematise, and resolve issues and concerns that surround certain public art projects developed for and located in regional Queensland communities.
My research also explores and extols a culture of place, and methodology that is informed by the oral history practices of interview and documentation. I consider the differences between ephemeral and permanent works, and acknowledge the significance of rituals, anniversary performance, and events. On completion of my analysis, I will formulate an effective reference chart and propose a redirective process that can be used by artists and community alike to further engage with locals in relation to negotiating public art and community. This will be done with the belief that communities, through their experience of place, can offer knowledge and inspire the artist. The artist in this way can work more positively to produce a public statement reflecting and informing the culture of place, past, present and future.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Andary, Chetana. "Curating place: Public art and city identity." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/202922/1/Chetana_Andary_Thesis.pdf.
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This Thesis investigates the impact and influence of the public art-curator to engender place-identity. It focuses on the connected relationship between curating, public art, and place identity to develop a contemporary understanding of the challenges, drivers, players and intersections that determine spatial and custodial narratives. Through the theories of placemaking and brand marketing and the review of the art and cultural policies of New York, Singapore, and Qatar, it draws upon the practice in curating public art.
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DOHERTY, WILLIAM. "ART + DEMOCRACY: Expanding the meaning and practice of Democracy through Public Art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22783.
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This thesis contributes to an EU Policy Lab project entitled The Future of Government 2030+. The aim of which is to generate knowledge in the context of the rapidly changing relationship between citizens and government.Using a co-design and speculative design process this thesis specifically looks at informing a citizen centric perspective on envisioning and formulating the design of new interactive tools and forms of engagement. Looking at the potential of art’s role in rethinking the way democracy and governments operate and exploring how citizens could interact, participate and engage in democracy. Investigating how new forms of debate and decision making could unfold in both domestic and public spaces in a future model of participatory democracy.A framework for a future model of government is presented in this thesis through prototype scenarios. This framework emerged from citizens visions of communication and interaction with a future government. The framework focuses on two key areas where artistic expression is used: 1: The formulation and communication of issues of concerns. 2: Community organising for creative participation in addressing these issues.The discussions on art and democracy by philosophers John Dewey and Bruno Latour were influential in the formulation and selection of the methodological approach. Culminating in a sequential design research process conducted through public probes, cultural probes and co-design workshops.
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Solano, Maria Schelle. "Art, Commerce, and Social Transformation: Public Art And the Marketing of Philadelphia." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/184817.
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AnthropologyPh.D.
The field site for this US-based ethnography is the city of Philadelphia, Pennsylvania. The overwhelming presence of murals in the urban landscape calls into question how these figurative wall-sized paintings improve the lives and neighborhoods in which these paintings are found. With Philadelphia suffering the consequences of deindustrialization and neoliberal globalization, characterized by high poverty and inequality, and consistently low rankings in quality of life indicators by the national media, what role do murals play in change? Do murals mask urban problems by literally painting over blight, and, therefore distract from vital issues? Alternately, are murals a beacon of hope in an aging post-industrialized city? How do these murals contribute to the city - socially, culturally, and economically? This research study employs the following in its methodology: archival research, participant observation, interviews, visual and audio documentation, web site analysis of the Mural Arts Program's public transcript, and documentation of contemporary media coverage of the MAP and tourism related economic strategies. Over the course of its almost thirty-year history, the MAP has seen its mission shift from dealing with erasing graffiti, to helping transform (i.e. empower and motivate) communities and individuals, as a way to deal with poverty and increasing political and economic inequality. As globalization placed pressures on cities to compete in a global economy, new urban branding practices changed the scale of operations from place-based local communities (that focused on rehabilitating "at-risk" populations) to the city as a whole (city-wide murals and related projects/events), that increased local media coverage and brought the MAP to the attention of national media outlets - the kind of publicity necessary to advertise Philadelphia as an "urban brand," "The City of Murals." The promotion of Philadelphia as "The City of Murals" is premised on art having a "social life" by virtue of human interaction, and therefore, has the capacity to engage, captivate, and transform - its "value" is in being commodified and consumed. At the same time, the consumption of particular art objects and experiences demonstrates "taste" and marks social difference and maintains social hierarchies.
Temple University--Theses
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Perego, Federica <1994>. "VENICE ART STOPS. Contemporary art in the public space: projects and externalities." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21772.
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This essay investigates the possibilities for a Public Art project in Venice and its feasibility, with an analysis over the positive impact of Contemporary Art and Public Art in the urban environment and transportation system, taking into account the project already done in Naples of the same kind.
The paper illustrates the contemporary characteristic of the Public Art sphere and its tight connection to the urban space of the city, defining the interdisciplinary tools between artistic production and urban planning that could be useful to create aesthetic value and social and economic positive impact on the city.
Metro Art project in Naples shares the collaboration of State and private entities for the urban redevelopment of the historic center of the city. The integration of the design practice to the utilitarian underground network of public service, with the desire to create spaces of enjoyment for the public with works of contemporary art. The objectives of the project were the recognition of the individual stations, contextualized within the territory, the functionality of these, and above all the communicability of works of contemporary art to a vast and heterogeneous public.
Another aspect of this paper is the possibility of creating a project in the city of Venice, with the same prerogatives but contextualized on the different conformation of the territory. Similarly, to what was done for Naples, an innovative project in my opinion would be the revitalization of the ACTV Line 1 of public transportation waterbuses, renewed through the collaboration between public and private bodies with artists. This is to create a Public Line that reflects the strong artistic charge of the city thanks to the urban transport service. The basic project is proposed as a format designed for the Academia stop, with modular characteristics, so that it can be adapted to other contexts in the future.
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.
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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
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Tudor, Harriett. "Raising recycling awareness through public art: using public art as a catalyst to rethink downtown Kansas City’s recycling system." Kansas State University, 2016. http://hdl.handle.net/2097/32707.
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Master of Landscape ArchitectureLandscape Architecture/Regional and Community Planning
Jason S. Brody
Recycling programs and public art have the capacity to improve the urban environment and quality of life to enhance downtown neighborhoods for residents, employees, and visitors (Miles 1989; Kansas City Design Center 2015). Kansas City, Missouri, currently does not have a strategic recycling program in place for multi-family housing or commercial businesses. Additionally, Downtown lacks appropriate recycling infrastructure in the public realm. This lack of private and public recycling infrastructure has created a general lack of awareness within the Downtown community. Using public art as a catalyst, Downtown Kansas City has the opportunity to increase recycling participation and awareness in the public realm through an engaging recycling and public art system. This project will utilize the work from Kansas City Design Center (KCDC) spanning the Art in the Loop Vision Plan and the Recycling Vision Study. Through research and design development strategies, a cohesive system can build a network of connected sites that have strong relationships to both recycling and art narratives. These overlapping stories of recycling and art will activate the public realm driving increased awareness of the recycling issues. Collaboration with the KCDC studio and local artists has lead to the design implementation of the Showcase Node at the Main Street and Truman Road site which was established in the RE[CONSIDERED] vision proposal. This site will be activated through local artists each year and they will be challenged to utilize locally sourced recycled material to create artful and interactive installations. A temporary light frame structure will allow artist to house these rotating art installations to show the city what their recycled materials can transform into. Together, the coordination of public art and recycled materials can inspire and create a meaningful impact in Downtown Kansas City.
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Jordan, Mel. "Art, its function and its publics : public sphere theory in the work of the Free art collective 2004-2010." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17466.
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This thesis and subsequent artworks present a critical examination into the degree to which public sphere theory can contribute to an expanded understanding of art and its publics. This research proposes that the notion of 'public' in the idiom 'public art' should be understood as a discursive construct as opposed to a physical, spatial understanding as in the term public realm. This revision considers the act of being public as a process, a series of inter-subjective temporal experiences, rather than a spatial condition. This helps expand art's role from an autonomous field of exhibition making into a position of publishing, thereby recognising art as a contributor to collective opinion formation. The thesis comes to a number of key conclusions. First, if we take into account that artworks are published as a consequence of being exhibited then we can understand art as part of the process of opinion (re)formation, thus contributing to a wider reflection upon art's social function. Second, by clarifying the distinctions between the terms public space, public good, and public sphere it is revealed that the use of the term 'public' in public art is heavily reliant upon the inherent physical, spatial differences between a primary and secondary audience. Third, by examining the traditionally accepted polarity between the street (public realm, open access) and the gallery (private, exclusive) it is determined that these spatial conditions are obsolete when establishing whether an artwork is considered public or not, as in the term public art. Finally, public sphere theory enables us to reconsider what constitute publics; members of the public are hereby declared as agents of opinion formation. In drawing these conclusions, this thesis (including artworks) argues for the validity and usefulness of Habermas' theory of the public sphere (and subsequent extensions of public sphere theory) both in an analysis of the function of art and its publics and in the production of artworks. I conclude that what public sphere theory ultimately provides us with is an alternative version of art and politics. As part of this analysis, the thesis develops a theoretical approach based on the work of Jurgen Habermas in order to contribute to and move beyond the existing understanding of the relation ship between art and its publics. The artworks function to demonstrate the distinctions between a physical, spatial use of the term public and a discursive use of the term public. The concepts and approaches embraced in the production of the artworks echo key ideas adopted from public sphere theory and operate as instances of publishing in themselves.
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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Field, Rhian. "Public engagement with climate change through visual art : an experiential with Art-Science." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/e909d884-dd1d-49b6-9567-96e2e1cd983e.
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Art has a potentially influential part to play in science communication, assisting in the process of making information more accessible and more effective. It supports education, serves as a universal language and can help us imagine and hypothesize. However, beyond the practical application of art as visual illustrator, there is something more mysterious and the possibility of a potential yet un-tapped. Art has a reputation for influencing human emotions and behaviour, although the exact mechanics of this process is presently unknown. An effective collaboration between artists and scientists might depend upon a more prescriptive approach and a meeting of minds towards clear objectives. Artists might be inclined to take up such a challenge but to what degree would scientists share their conviction? This research explores whether art and science can collaborate effectively to influence behaviour in the environment towards climate change adaptation and how this might be approached. As part of an empirical mixed method approach to field research, an experimental test-kit was developed by science-trained practicing artist Rhian Field. Experiments were set up in a selection of locations in Wales during 2014 and 2015, to explore the opportunities for the role of visual art in the face of climate change impacts and the need for adaptation. This field research, underpinned by knowledge from a broad range of disciplines, examines the factors that potentially influence public engagement with visual art within a context of climate change, and considers the opportunity for art-science within climate change adaptation.
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Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.
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Lam, Suet-hung Anne. "A study of the educational role of public art museums." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628740.
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Stukoff-Cornehlsen, Maria Natascha. "Mobile and wireless networks as public art : an investigation into emergent media art practices as playful encounters in public place." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503342.
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Rydland, Ole Andreas. "A mobile application for public art : Utilising smartphones and crowdsourcing to enable users to discover and learn about public art." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-27050.
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This thesis follows the background research and development of an Android application meant to utilize crowdsourcing and other techniques to build a database and share knowledge about art in public places.
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Conard, Corrinn E. "Where is the public in public art? A case study of Millennium Park." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1198707193.
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Duncan, Alan Slater. "Planning strategy for public art, city of Vancouver." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29954.
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This corporate strategy for public art proposes a comprehensive yet incremental process to address the most pressing concerns now facing the City of Vancouver in planning for public art.
The strategy, including its implementation, is deliberately incremental. The need for flexibility in planning for public art emerged from discussions with public artists, arts administrators and consultants; interviews with authors of recent exemplary public art plans; review of literature and other documentation, including the popular culture; and my personal understanding of public art from the perspective of public art producer, planner and urban designer. The proposals are informed by a review of the evolution of public art, planning and planning for public art. They are proposed within a historical context of public art planning in Vancouver and build upon the inventory and analysis of processes already in place within the civic administration.
The strategy recommends upgrading the existing Art in Public Places Subcommittee into a Public Art Commission and the creation of three new advisory bodies, all with strong professional staff support, to ensure broader participation in public art while increasing the breadth of expertise to deal with aesthetic judgements, commemoration, urban design and other public realm issues in Vancouver. It also recommends restructuring the civic
administration by dissolving the Board of Parks and Recreation; consolidating the urban realm design functions of the Board of Parks and Recreation, the Engineering Department and the Planning Department into a holistic urban design group; consolidating cultural planning and development functions associated with Community Centres into the Social Planning Department; and creating a new Department of Parks and Recreation responsible primarily for park maintenance and recreation functions.
The proposed definition of public art is all-inclusive to encourage rather than limit or inhibit the most creative, innovative possibilities whether permanent or temporary, physical or ephemeral. The entire process is proposed to be open to wide community participation. It welcomes grass-roots initiatives and promotes project development and management by existing Vancouver organisations involved in the production of public art.
The inherent flexibility of this incremental strategy allows responsiveness to the community, civic aspirations, and the evolving nature of our understanding of public art. It facilitates the development of a common and evolving vision in Vancouver for a more humane city through the media of public art. By planning through the use of art to make places public, it begins to allow us to recapture the public essence of urban living.Applied Science, Faculty of
Community and Regional Planning (SCARP), School of
Graduate
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Gray, Pamela Clelland, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Public learning and the art museum : future directions." THESIS_CAESS_HUM_Gray_P.xml, 2002. http://handle.uws.edu.au:8081/1959.7/354.
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The question of the art museum's failure to engage wider audiences remains relatively unexamined and has neither widely catalysed nor changed professional practice either in curatorial, educational, or public program domains. In this study, the educational aim of the art museum is discussed. The work of Pierre Bourdieu is examined. Bourdieu argues that museum display principles, interpretive strategies, and educational techniques, propagated within the paradigm of modernism, implicitly assume possession of cultural literacy skills which are the sole privilege of the educated.The author concludes that working within and across the curatorial and educational environments of an art museum, while avoiding the pitfalls of the modernist tradition, is also a significant step toward engaging wider audiences than the cultual 'elite' in the development of visual literacy skills.Master of Arts (Hons.)
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Bedford, Anna Catherine. "Public art : the transformative power of the beautiful /." Title page, contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arb4114.pdf.
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Piercey, Daniel. "Cultural geography : public art and the urban landscape." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323896.
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SOUZA, ALINE JOBIM E. "NATIONAL COMMISSION OF TRUTH, ART AND PUBLIC INTERVENTION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34359@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
A dissertação Comissão Nacional da Verdade, Arte e Intervenção Pública pretende estabelecer um diálogo entre design / comunicação visual, arte política e história do período ditatorial no Brasil, tendo como base empírica o Relatório da CNV (especificamente o Volume III: Mortos e Desaparecidos Políticos). A partir da análise do Relatório da Comissão Nacional da Verdade, criamos oficinas de estratégias de comunicação visual no âmbito da intervenção no espaço público, com a participação de jovens na faixa etária de 18 a 22 anos. Nessa pesquisa de campo, a metodologia desenvolvida propõe-se a provocar um debate ético e estético com o público alvo. O processo criativo desenvolvido com os alunos de graduação em design da disciplina de Linguagem e Comunicação Visual II, ministrada pela professora Simone Formiga - 2017.1 - PUC-Rio, proporcionou a construção de narrativas imagéticas sobre questões morais relativas às gravíssimas violações de direitos humanos deflagradas pelo regime ditatorial e expostas no Relatório. Ou seja, a partir dos conteúdos discursivos gerados nesta disciplina, desenvolvemos narrativas visuais ocupando o espaço público, com a finalidade de provocar questionamentos e reflexões na população acerca das vítimas do período do regime militar brasileiro.
The dissertation National Commission of Truth, Art and Public Intervention intends to establish a dialogue between design - visual language -, political art and history of the dictatorial period in Brazil, with empirical basis on the CNV Report (specifically Volume III: Political Dead and Disappeared). Analyzing the work of the National Commission of Truth, we created workshops on visual communication strategies in the framework of artistic intervention in public space, with the participation of a group aged from 18 to 22 years. In the field research, the methodology developed aims to provoke an ethical and aesthetic debate with the target audience. The creative process developed with the undergraduate design students at Language and Visual Communication II discipline, given by Professor Simone Formiga - 2017.1 - PUC-Rio, provided the construction of imaginative narratives on moral issues about the severe violations of human rights triggered by the dictatorial period and exposed in the documents of the National Commission of Truth. So, from the discursive contents generated in this discipline, we developed visual narratives occupying the public space, with the purpose of provoking questions and reflections about the victims of the Brazilian military coup.