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Journal articles on the topic 'Art public'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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1

Antoine, Jean-Philippe. "Art, publics, art public." Multitudes 4, no. 1 (2001): 53. http://dx.doi.org/10.3917/mult.004.0053.

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2

Ruby, Christian. "Art en public ou art public ?" Le Débat 98, no. 1 (1998): 49. http://dx.doi.org/10.3917/deba.098.0049.

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3

Sanader, Daniella E. "Service Media: Is it ‘Public Art’? Or is it Art in Public Space?" Public 26, no. 52 (December 1, 2015): 259. http://dx.doi.org/10.1386/public.26.52.259_5.

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4

Bell, Jacqueline. "ART + CARE = A FUTURE." Public 26, no. 52 (December 1, 2015): 256–58. http://dx.doi.org/10.1386/public.26.52.256_5.

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5

Glahn, Philip. "Public Art." Afterimage 28, no. 3 (November 2000): 10–12. http://dx.doi.org/10.1525/aft.2000.28.3.10.

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6

McGonagle, Declan. "Public Art." Circa, no. 50 (1990): 42. http://dx.doi.org/10.2307/25557515.

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7

Parsley, Connal. "Public Art, Public Law." Continuum 19, no. 2 (June 2005): 239–53. http://dx.doi.org/10.1080/10304310500084509.

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8

Baldini, Andrea. "The Public-Art Publics: An Analysis of Some Structural Differences among Public-Art Spheres." Open Philosophy 2, no. 1 (January 18, 2019): 10–21. http://dx.doi.org/10.1515/opphil-2019-0002.

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AbstractIn this paper, I argue for what I define as the multiplicity thesis (MT). According to MT, there is not a single public of public art, but a multiplicity of them. I defend MT both as a descriptive and a normative claim. I explore different types of publics of public art that can be distinguished from one another in terms of their different sizes. I expand my analysis of the differences among separate publics of public art by considering temporary and enduring ones.
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9

Anderson, Heather. "Retreating in/from art institutions." Public 25, no. 50 (September 1, 2014): 59–74. http://dx.doi.org/10.1386/public.25.50.59_1.

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10

Mills, Josephine. "Public Art On-lineArtexte’s Public Art Database: www.artexte.ca/publicart." TOPIA: Canadian Journal of Cultural Studies 8 (September 2002): 133–34. http://dx.doi.org/10.3138/topia.8.133.

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11

Hand, Brian. "Public Art Indoors: Sound and Art in Public Spaces." Circa, no. 88 (1999): 42. http://dx.doi.org/10.2307/25563399.

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12

Jewesbury, Daniel. "Public Space & 'Public Art'." Circa, no. 98 (2001): 13. http://dx.doi.org/10.2307/25563756.

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13

Balfe, Judith H., and Margaret J. Wyszomirski. "Public Art and Public Policy." Journal of Arts Management and Law 15, no. 4 (January 1986): 5–29. http://dx.doi.org/10.1080/07335113.1986.9942166.

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14

Dirisio, Michael. "Art and multitude by Antonio Negri." Public 23, no. 46 (December 1, 2012): 173–74. http://dx.doi.org/10.1386/public.23.46.173_5.

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15

Dickinson, Peter, Kirsty Johnston, and Keren Zaiontz. "Mega-event cities: Art/audiences/aftermaths." Public 27, no. 53 (June 1, 2016): 5–12. http://dx.doi.org/10.1386/public.27.53.5_7.

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16

Dirisio, Michael. "Art and multitude by Antonio Negri." Public 46, no. 1 (December 1, 2012): 173–74. http://dx.doi.org/10.1386/public.46.1.173_2.

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17

Zebracki, Martin. "Beyond public artopia: public art as perceived by its publics." GeoJournal 78, no. 2 (December 1, 2011): 303–17. http://dx.doi.org/10.1007/s10708-011-9440-8.

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18

Blackman, Maeve. "Public Art Discourse." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 137–52. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36029.

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19

Ismail, Hassan Ahmed. "Public Art Development." Academic Research Community publication 1, no. 1 (September 18, 2017): 7. http://dx.doi.org/10.21625/archive.v1i1.139.

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Please allow me to express my interest in participating in the event; the agenda and objective are of high significance for discussing the maturity and development of a sustainable "cultural and creative infrastructure" powered by cultural policies and practices. Involvement and lobbying for such topics is essential for the cultural and creative dynamics where creative cities attract creative people.While navigating through a search engine and typing a name of a city, the first images to appear visualize the built environment of the city. For instance when you type Cairo into Google, you will be mainly looking at the Pyramids and built environment around the Nile in addition to the Old City of Cairo. If you type in New York you will find images of skyscrapers positioned around the natural landscape of the city, and so on and so forth.Thus tourism depends a lot on the built environment and the touristic standard is subject to the built environment, type and quality of tenants attracting the general public and of course the natural landscape.Arts and architecture play an important role among the built environment having both tangible and intangible economic impacts resulting from touristic attractions as well as other means; Cairo was once described as the most beautiful city in the world with the rich urban fabric and prosperity of the arts and architecture.In a country like Egypt where segmentation between the different social levels is becoming a real threat for future generations, it is crucial to work with all stakeholders including the authorities, civil society and the general public with objectives that would aim to serve all interests and gain a positive public opinion.
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20

Whipps, Stuart. "Public Art: Birmingham." Art & the Public Sphere 6, no. 1 (September 1, 2017): 95–102. http://dx.doi.org/10.1386/aps.6.1-2.95_7.

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21

Visconti, Luca M., John F. Sherry, Stefania Borghini, and Laurel Anderson. "Street Art, Sweet Art? Reclaiming the “Public” in Public Place." Journal of Consumer Research 37, no. 3 (October 2010): 511–29. http://dx.doi.org/10.1086/652731.

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22

Yisoon Kim and 문혜영. "From Public Art for Ideology to Public Art for Coexistence - Paradigm Shift of Public Art in Korea -." Korean Journal of Art and Media 13, no. 1 (February 2014): 33–60. http://dx.doi.org/10.36726/cammp.2014.13.1.33.

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23

Schuermans, Nick, Maarten P. J. Loopmans, and Joke Vandenabeele. "Public space, public art and public pedagogy." Social & Cultural Geography 13, no. 7 (November 2012): 675–82. http://dx.doi.org/10.1080/14649365.2012.728007.

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24

Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art." Public 23, no. 46 (December 1, 2012): 77–97. http://dx.doi.org/10.1386/public.23.46.77_1.

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25

Wallace, Keith. "The spaces between: Contemporary art from Havana." Public 26, no. 52 (December 1, 2015): 23–40. http://dx.doi.org/10.1386/public.26.52.23_1.

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26

Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art." Public 46, no. 1 (December 1, 2012): 77–97. http://dx.doi.org/10.1386/public.46.1.77_1.

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27

Bengtsen, Peter. "Beyond the Public Art Machine: A Critical Examination of Street Art as Public Art." Konsthistorisk Tidskrift/Journal of Art History 82, no. 2 (June 2013): 63–80. http://dx.doi.org/10.1080/00233609.2012.762804.

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28

Gabie, Neville, and Keren Zaiontz. "‘Public Art as Collective Practice’: ‘Collective Breath Poster’." Public 27, no. 53 (June 1, 2016): 105–17. http://dx.doi.org/10.1386/public.27.53.105_7.

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29

Gabie, Neville. "‘Public Art as Collective Practice’: ‘Collective Breath Poster’." Public 27, no. 53 (June 1, 2016): 199–200. http://dx.doi.org/10.1386/public.27.53.199_7.

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30

Coombs, Gretchen. "Remember the Hoarding: A Public Art Non Happening." Public 28, no. 55 (June 1, 2017): 93–97. http://dx.doi.org/10.1386/public.28.55.93_1.

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31

Zebracki, Martin. "Just art, politics and publics: Researching geographies of public art and accountability." Art & the Public Sphere 2, no. 1 (December 1, 2012): 117–27. http://dx.doi.org/10.1386/aps.2.1-3.117_1.

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32

Willard, Mary Beth. "When Public Art Goes Bad: Two Competing Features of Public Art." Open Philosophy 2, no. 1 (January 18, 2019): 1–9. http://dx.doi.org/10.1515/opphil-2019-0001.

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AbstractNot all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other. It is difficult, although hardly impossible, for a site-specific work to remain accessible, and difficult for an accessible work to engage adequately with the site on which it is situated. As a result, while not all public art is bad, the features peculiar to public work encourage a latent tendency toward badness.
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33

HEIN, HILDE. "Symposium: Public Art,What Is Public Art?: Time, Place, and Meaning." Journal of Aesthetics and Art Criticism 54, no. 1 (December 1, 1996): 1–7. http://dx.doi.org/10.1111/1540_6245.jaac54.1.0001.

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34

Polat, Bengi, and Şebnem Gökçen. "Public Art and Percent for Art Strategy." Prostor 30, no. 2(64) (December 26, 2022): 188–99. http://dx.doi.org/10.31522/p.30.2(64).5.

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Public art plays a number of roles in the economic, social and cultural transformation of cities. The cultural policies of cities are significant for the interest in public art. The percent for art strategy as an important policy is one of the methods to promote public art in cities and finance artwork production. Many cities have been successfully implementing public art in their cultural policies. The cities of Chicago, Barcelona and Dublin can be mentioned as those which have different experiences in the implementation of this strategy. They can be taken as exemplars of cultural policies and public art strategies for the specific case of Izmir, Turkey. This article intends to discuss public art as part of cultural policies in Izmir, demonstrating how public art can find more space in the urban environment. In line with this purpose, the main question focuses on how the percent for art scheme can be applied as a method that ensures the realization of public art practices for Izmir. The resultant findings obtained from proposed models show that an alternative financial resource can be provided via the percent for art strategy in Izmir city. In the end, the percent for art program is believed to offer a range of opportunities which should increase the presence of public art in the city.
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35

Klassen, Lois. "Participatory art at the Vancouver 2010 Cultural Olympiad." Public 23, no. 45 (June 22, 2012): 212–23. http://dx.doi.org/10.1386/public.23.45.212_1.

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36

Bosteels, Bruno. "In praise of discrepancy? Art and ideology revisited." Public 25, no. 50 (September 1, 2014): 94–103. http://dx.doi.org/10.1386/public.25.50.94_1.

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37

Bojesen, Benedicte, and Anna Johansen. "Art librarianship in Danish public libraries." Art Libraries Journal 22, no. 2 (1997): 10–14. http://dx.doi.org/10.1017/s0307472200010361.

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The 1964 Danish Public Libraries Act empowered public libraries to lend materials other than books. Subsequently a number of libraries took advantage of this to initiate loan collections of original works of art, posters, and slides, alongside and as an extension of the provision of art books and journals. In addition, art departments in public libraries began to organise exhibitions of contemporary art. In some cases, including Gladsaxe, Lyngby, and Gentofte in Greater Copenhagen, distinct art libraries were created. Artists whose work is represented in libraries can benefit from payments dispensed through the Public Lending Right scheme. Librarians responsible for art departments in public libraries formed a group within the Danish Librarians’ Union, in the 1970s. The activities of art departments have suffered during the difficult economic climate of the last decade or so, but membership of Kunstfaggruppen is now growing again.
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38

Hadravova, Tereza, and Sabrina Muchová. "Public art as meditation on public time." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 2, 2022): 29–39. http://dx.doi.org/10.36253/aisthesis-13447.

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In this paper, we draw attention to temporal aspects of works of art displayed, performed, or held in public spaces, generally designated as public art. We argue that the debate on public art has been biased towards discussing the spatial. We focus on the “temporariness” of public art, the primary temporal feature that has been under scrutiny in recent philosophical literature on public art. We explore arguments it has been woven into. In particular, we discuss and reject using temporariness as the mark dissecting the realm of public art into two different artforms and argue that it is just one of many temporal properties public artworks have and can use to bear meanings. We outline other ways works of public art bear temporal features and interact with temporal properties of spaces they occupy, and argue that those too are, potentially, aesthetically significant. We illustrate some of these with an example of a particular public artistic site, the open-air art gallery «ArtWall» located in Prague, the Czech Republic.
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39

de Fleurian, François, and Luce de Fleurian. "Tramway et art public." Transports urbains N° 138, no. 1 (May 20, 2021): 22–28. http://dx.doi.org/10.3917/turb.138.0022.

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40

Lucas, Martin. "Resistance and Public Art." Afterimage 34, no. 1-2 (July 2006): 18–21. http://dx.doi.org/10.1525/aft.2006.34.1-2.18.

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41

Phillips, Patricia C. "Temporality and Public Art." Art Journal 48, no. 4 (1989): 331. http://dx.doi.org/10.2307/777018.

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42

Hill, Tony. "Art in Public Places." Circa, no. 45 (1989): 23. http://dx.doi.org/10.2307/25557414.

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43

Argiro, Carol. "Teaching with Public Art." Art Education 57, no. 4 (July 2004): 25–32. http://dx.doi.org/10.1080/00043125.2004.11653556.

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44

Jende, Robert. "Art-based Public Sociology." Performative Sozialwissenschaft 28, no. 1 (May 2020): 86–107. http://dx.doi.org/10.30820/0942-2285-2020-1-86.

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Dieser Beitrag reflektiert eine zweisemestrige Lehrforschung im Fachbereich Soziologie an der Friedrich-Schiller-Universität Jena. Erforscht wurde mittels einer teilnehmenden Beobachtung der Prozess des ersten internationalen Echtzeit-Architekturfestivals »72 Hour Urban Action«, das vom 2. bis 5. Mai 2019 inmitten der Großwohnsiedlung Lobeda-West in der Peripherie von Jena stattfand. Die Mission der architektonischen Intervention bestand darin, zehn neue Orte der Begegnung zu schaffen und die Anwohner*innen des Quartiers für die Gestaltung des öffentlichen Raumes zu aktivieren. Als Feldforscher*innen arbeiteten wir eng mit Stadtplaner*innen, Kulturschaffenden und Künstler*innen zusammen und wurden zu einem Teil des Untersuchungsgegenstandes. Wir entwickelten künstlerische Präsentationsformen und trugen relevantes Wissen über den Stadtteil zur Realisierung des Architekturfestivals bei. Welche Potenziale eine partizipative Stadtraumentwicklung und welche Rolle performative Sozialwissenschaft dabei spielen kann, soll in diesem Beitrag ausgeleuchtet werden.
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45

Shaman, Sanford. "Public spaces - 'private art'." Visitor Studies 8, no. 1 (1995): 32–38. http://dx.doi.org/10.1080/10645579509512662.

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46

Wright, Sheila. "Teacher as Public Art." Journal of Aesthetic Education 40, no. 2 (2006): 83–104. http://dx.doi.org/10.1353/jae.2006.0020.

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47

Kurgan, Terry. "PUBLIC ART/PRIVATE LIVES." Cultural Studies 27, no. 3 (May 2013): 462–81. http://dx.doi.org/10.1080/09502386.2013.769729.

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48

Oppegaard, Brett. "Prototyping and public art." Communication Design Quarterly 8, no. 2 (August 12, 2020): 16–27. http://dx.doi.org/10.1145/3394264.3394266.

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49

Mitrache, Georgică. "Architecture, Art, Public Space." Procedia - Social and Behavioral Sciences 51 (2012): 562–66. http://dx.doi.org/10.1016/j.sbspro.2012.08.206.

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50

Sunde, Sarah Cameron. "36.5 / Public Art Dialogue." Public Art Dialogue 6, no. 2 (July 2, 2016): 241–51. http://dx.doi.org/10.1080/21502552.2016.1205402.

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