Academic literature on the topic 'Public artworks'
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Journal articles on the topic "Public artworks"
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Willet, Jennifer. "INCUBATOR Lab: Where Artists Collaborate with Life." Public 31, no. 59 (June 1, 2019): 46–55. http://dx.doi.org/10.1386/public.31.59.46_1.
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This article presents the research philosophies, artworks, and practices of INCUBATOR Lab, a bioart research and teaching facility at the School of Creative Arts, University of Windsor, Canada. Research/creation projects produced range from microbial artworks, interspecies performances, social practice projects, and textual analysis, to artworks that can only be seen with a microscope. The facility provides innovations in public engagement through (1) making daily bioart laboratory activities visible to online and local audiences; (2) serving as a gallery where artworks that are unable to leave the BSL2 laboratory setting can be safely displayed for audiences; and (3) providing a multimedia performing arts venue where seated audiences can view theatre and performance events that integrate BSL2 biotechnologies into multimedia storytelling and performance genres. INCUBATOR Lab is an institutional space, an artwork, an ecology, and a biosphere where human and non-human organisms collaboratively and co-dependently produce bioart research and creation.
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Aerne, Annatina. "Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere." Social Inclusion 9, no. 4 (November 30, 2021): 180–90. http://dx.doi.org/10.17645/si.v9i4.4180.
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How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.
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Çevik, Arzu. "Permanence of an artwork in public areas and a design project: Draw and Erase (Yaz-Boz)." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 486–90. http://dx.doi.org/10.18844/prosoc.v2i1.334.
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There are three elements that come to the forefront while questioning the permanence of an artwork: The artist who plays a role, although indirectly, in individuals' establishing a direct relationship with the artwork; the political authorities and city administrators who have effective power on the permanence of artworks, and the watchers/users who realize conscious or unconscious vandalistic behaviors to artworks in public areas. While, at times, emerging as a consequence of a systematic destruction of the cultural structure of societies and a dogmatic thinking, the vandalism can also emerge in the form of destructive actions of individuals provoked by psychological and sociological causes. Users who are consciously or unconsciously injurious behavior to the artwork in the public areas is starting point of the project. At the same time, this interactive project  was born of necessity  as a result of human – behavior – environment interaction. This project aims the protection of  the artwork in public spaces and bring together people with interactive art. Keywords: public art, sculpture, vandalism, design, interactive Art
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Babcock, Ellen. "Intersection:." Interdisciplinary Journal of Signage and Wayfinding 5, no. 2 (December 23, 2021): 38–46. http://dx.doi.org/10.15763/issn.2470-9670.2021.v5.i2.a92.
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Old road signs, especially larger, sturdier ones whose support structures are still intact but whose vintage lettering and neon are either too decayed or too problematically specific to preserve offer public art programs an opportunity to rethink three-dimensional public artworks as sites more akin to galleries than stand-alone, immutable works of genius. Valued artworks are still assumed to be the product of unique, individual perspectives, and detractors of public art often consider the genre a lesser form because it necessarily involves legal limitations, institutional approval and revision processes, and thus multiple or communal perspectives that “dilute” the artwork. Empty road signs as sites for public art provide a unique opportunity to model an inclusive public art approach that also values historic continuity, a palimpsest of sorts that leaves traces of the past as well as room for new eruptions.
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Andrzejewski, Adam, and Marta Maliszewska. "Public Art in (Local) Communities: Multiple Publics and the Dynamic Between Them." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 2, 2022): 5–14. http://dx.doi.org/10.36253/aisthesis-13456.
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The paper’s goal is to investigate the question of the type of public, which serves as a recipient of a particular work of public art. That is, the paper researches the process of how the public is attracted by a given artwork, how this process influences a local community, and what is the actual nature of these publics. As a result, it is argued that some public artworks are intended to have more than one public or, to put it in stronger terms, their task is to bring into play the inner dynamic between numerous publics. Moreover, the possibility of conceptualizing public art not only as a means responsible for facilitating peace but also as revealing the hidden conflicts among the members of the community, to which it is introduced and by whom it is analyzed.
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Widyaevan, Dea Aulia. "Kajian Kritik Seni Instalasi Tisna Sanjaya - “32 Tahun Berpikir dengan Dengkul”." JURNAL RUPA 2, no. 1 (January 10, 2018): 13. http://dx.doi.org/10.25124/rupa.v2i1.752.
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Art critics has become a way to reveal and appreciate content lies behind its appearences. Thus signified an important role on reading an art work by analyze the reasoning behind the artworks, through the artist statement, intention and the translation on relating medium. The process of reasoning require several steps which enhance the art critic's methods. On this case , a method of Feldman' art critics has been applied to anaylize an installation work of Tisna Sanjaya – “32 Tahun Berpikir dengan Dengkul”. Feldman theory divide art critics method into four steps: description, formal analysis, interpretation and evaluation. This analysis require contextual reading due the impact of this art works into social, politic relation outside the artworld itself. Tisna's work has become one pioneer on installation artwork in Bandung, which also has a significance role of enggaging public reaction which create a paradoxes. Further more, provoke the government security (Satpol PP) to burn this artwork in Babakan Siliwangi as well as his other works "Doa untuk yang Mati”.
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Luo, Na, Rahinah Ibrahim, and Sazrinee Zainal Abidin. "Transformation of Children’s Paintings into Public Art to Improve Public Spaces and Enhance People’s Happiness." International Journal of Environmental Research and Public Health 19, no. 24 (December 14, 2022): 16780. http://dx.doi.org/10.3390/ijerph192416780.
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Characteristics of children’s paintings have been suggested considered for application in public art since they are known to positively evoke a sense of well-being when people see them. This study aims to understand the impact of artistic features from children’s drawings on people’s well-being; then analyzing the adaptive design principles of 3D public art featuring children’s paintings on people’s happiness; and finally, exploring the influence of 3D public art featuring children’s paintings on improving public spaces and enhancing people’s well-being. The results lead to proposing a conceptual framework for public artworks in public spaces for improving people’s happiness. The proposed conceptual framework recommends that, by applying the visual and thinking features of children’s paintings to public art, artists can design high-quality artworks suitable for a city, which could improve people’s happiness in public spaces. This study recommends further research into how public art can promote public spaces and shape the urban culture. It contributes to enhancing the quality of public art and public spaces, and inspiring a sense of well-being among citizens through the use of appropriate public art. The results are significant because they will help artists to create more high-quality public artworks for urban public spaces in order to evoke people’s happiness.
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Abell, Catharine. "The Public Cost of Private Ownership of Artworks." Philosophy in the Contemporary World 12, no. 2 (2005): 76–81. http://dx.doi.org/10.5840/pcw200512214.
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Sprugnoli, Rachele, Marco Guerini, Giovanni Moretti, and Sara Tonelli. "Are these Artworks Similar? Analysing Visitors’ Judgements on Aesthetic Perception with a Digital Game." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–14. http://dx.doi.org/10.1145/3461663.
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Digital games have been used in the context of a cultural experience for several reasons, from learning to socialising and having fun. As a positive side effect, using digital games in a GLAM environment contributes to increasing the visitors’ engagement and making the collections more popular. Along this line, we present in this article an online game for museum environments that serves two goals: asking users to engage with the artworks in a collection in a playful environment, and collecting their feedback on artwork similarity, which may be used by curators to rethink the organisation of digital exhibitions and in general to better understand how visitors perceive artworks. The game is called PAGANS ( Playful Art: a GAme oN Similarity ), and is designed to collect similarity judgements about artworks. The software was implemented following some principles of gamification in order to quickly leverage similarity information in the cultural heritage domain while increasing user engagement and fun. The game, involving pairs of players, was used during two large public events to collect different data about the players’ behaviour and to investigate how these dimensions correlate with aesthetic perception. A thorough statistical analysis shows that age and (self-declared) gender correlates with the time and the number of moves needed to complete a session. These dimensions also link to the relevance of colour and shape in judging similarity. These findings suggest that, although artwork similarity is very subjective and may vary based on a person’s background, some trends can be identified when considering the subjects’ gender and age. This could have some practical implications; for example, it could be used to support art curators in creating digital exhibitions by grouping artworks in novel, user-centred ways.
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Ștefănescu, Mirela. "7. The Relevance of Art Criticism in Aesthetic Reception of Artworks." Review of Artistic Education 1, no. 24 (April 1, 2022): 222–29. http://dx.doi.org/10.2478/rae-2022-0027.
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Abstract One of the most important tests through which the cultural vitality of an artistic community can be examined is art criticism. Art criticism has the role of analysis, interpretation and evaluation of artworks, having important responsibilities to the public interested in the visual artistic phenomenon and also to the evolution of artistic taste. The comments of art critics have managed to provoke public debates on art-related issues or have effectively contributed to the reception and promotion of artworks. The art critic creates a connection between the artworks exhibited in galleries or museums and the public who appreciate the aesthetic value of the works, in terms of explaining the context and the artistic phenomenon, so as to outline the communication between artists, critics and viewers, from the perspective of dynamics of new structures and forms of visual expression. In this context, the public formed through the visual education can be prepared and opened in receiving the aesthetic message of artworks.
Dissertations / Theses on the topic "Public artworks"
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Farman, N. M. "Everyday, walking and artworks /." View theses, 1993. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.113755/index.html.
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Ryan, Bengtsson Linda. "Re-negotiating social space : Public art installations and interactive experience." Doctoral thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-11723.
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Digital media technologies are becoming increasingly and extensively integrated into our way of living. We communicate, inform and entertain ourselves through media technologies in disparate spaces. When digital technology is integrated into our everyday environment, the border between media interfaces and physical environments is blurred. Traditional divisions of spaces dissolve and are rearranged, complicating the linkages between private and public spheres. The key phenomenon shaping these experiences with digital media technologies is interactivity. Interactivity intersects these spaces allowing users of mediated content to be affected by the actual, and vice versa. This study has emerged through the need for further research focusing on the term interactivity in today’s media practices, contributing with more targeted research and theoretical work concerning the interconnection between space and digital technologies. The study pursues interactivity by taking on a different perspective than earlier research, staging a qualitative study from a grounded theory perspective complemented by phenomenological theory. In this way interactivity is approached from diverse angles, moving away from earlier fixations on technology and placing it within social and spatial contexts. The study uses three contemporary Scandinavian interactive art installations, ‘Colour by Numbers’, ‘Emotional Cities’ and ‘Climate on the Wall’, to explore how interactivity plays into the relation between humans, technology and social space. The integration of interactive art installations in public space raises issues regarding humans’ sense of space and human relations vis-à-vis interactions with such artworks. The study finds evidence that interactive art installations can shift humans’ perceptions of space, allowing them to have social experiences and feel locally connected or anchored. Humans do not necessarily become placeless due to interactive technology. It may as well enhance space by converging with existing spatial references. The mediated and the actual may re-enforce each other expanding and transcending diverse spaces.
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Bourne, Margaret. "Trusting the artwork /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031223.151032/index.html.
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Smith, Natalie D., and n/a. "Fashion and the artworld : intersection, interplay and collusion since 1982." University of Otago. Department of History, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070417.122533.
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Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice.
The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface.
This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.
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Potter, Simon. "Artwork in Publicly Illustrated Maps in Japan as a Medium for Cultural Insights." 名古屋大学大学院国際言語文化研究科, 2007. http://hdl.handle.net/2237/8190.
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Downing, Eric. "Artificial I's the self as artwork in Ovid, Kierkegaard, and Thomas Mann." Tübingen : Max Niemeyer, 1993. http://books.google.com/books?id=DbFbAAAAMAAJ.
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Viollet, Marion. "Les comportements du spectateur comme enjeux de l'art contemporain." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00656759.
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En relation avec la pratique artistique de l'auteur, cette recherche se développe autour de la questiondes comportements du spectateur de l'art contemporain dans l'espace de l'œuvre, en France.L'art intègre depuis les années 1960 le spectateur, appelant sa participation ou le tenant volontairement à distance. Les oeuvres ne nécessitent plus une attitude contemplative, espèrent le visiteur actif voire acteur du déroulement de la création. Mais l'observation de ses comportements révèle également un rapport inédit à l'espace de l'art : certains publics y voient une continuité de la rue, et leur réception s'en ressent. L'étude de cette nouvelle figure du spectateur mène à interroger les outils que lui proposent les structures, afin que sa rencontre avec l'œuvre ne soit pas vaine : la médiation est développée, accompagnement nécessaire mais potentiel obstacle à une interprétation personnelle. Elle est aussi une vitrine de la démocratisation culturelle ; comme d'autres missions des lieux d'art, elle a pour fonction d'attirer et de fidéliser des publics peu sensibles à l'art actuel. Les espaces de consommation, de repos peuvent les inciter à dépasser le seuil des lieux d'exposition, qui doivent s'adapter aux diverses attentes - souvent contradictoires - des artistes et du public, et aux exigences politiques.L'auteur donne forme plastique à ces préoccupations dans une installation traduisant, par une pratique du bricolage qui lui est propre, l'enfouissement de l'œuvre sous les discours de médiation et les diverses préoccupations concernant l'accueil des spectateurs. Que devient l'œuvre lorsque le contexte de l'art occupe plus de place dans les discours que l'art lui-même ?
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Le, Boulba Pauline. "les bords de l’œuvre : réceptions performées & critiques affectées en danse." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080011.
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Cette recherche-création s’est déployée autour d’une réflexion sur la réception en danse et sur les modes de partage de celle-ci. Prenant à rebrousse-poil une histoire de la critique de danse qui juge et évalue, j’ai tenté de privilégier des démarches qui viennent perturber, troubler et brouiller les frontières entre création et réception. La première partie de ce travail consiste à trois analyses d’œuvres chorégraphiques : Une hypothèse de réinterprétation de Rita Quaglia (2009), histoire(s) d’Olga de Soto (2004) et enfin Admiring la Argentina de Kazuo Ôno (1977). Ces trois pièces révèlent trois manières de regarder des œuvres, trois manières de parler des/aux œuvres, trois manières de répondre à une danse en dansant. Les trois œuvres analysées en première partie se distinguent par l’importance qu’elles accordent à la subjectivité comme vectrice de savoirs (perceptifs et cognitifs). Ainsi, à la « réception performée » s’ajoute le terme de « critique affectée » pour compléter ma réflexion. Celle-ci désigne autant le caractère subjectif au sein des objets étudiés, que ma manière d’être à mon tour touchée et prise par les objets et personnes que j’ai observé·e·s ces dernières années. La critique affectée concerne également les parcours de deux critiques de danse — Laurence Louppe (1938-2012) et Jill Johnston (1929-2010) — qui constituent le centre d’attention de ma deuxième partie. À travers leurs pratiques critiques distinctes, il m’importe de questionner un héritage dont je souhaite me défaire ou au contraire que je désire faire mien. Cette recherche a été une progressive mise en abyme de mon regard de spectatrice et de différents modes de travail en tant qu’artiste-chercheure. Elle rend compte d’une multiplicité de formats — journal de bord, fragments critiques, analyses d’œuvres et analyses de pratiques, matériaux de performance — comme autant de points de vue sur une œuvre. À ce travail écrit, s’ajoute un temps performatif lors de la soutenanceThis practice-based research developed from questioning reception of dance and manners of sharing this experience. In venturing countercurrent to a history of dance criticism which bears judgment and makes assessments, I attempted to favor initiatives which disrupt, disturb and blur the borderlines that settle between creativity and reception. The first chapter of this research focuses on the analysis of three choreographic works: Une hypothèse de réinterprétation by Rita Quaglia (2009), histoire(s) by Olga de Soto (2004) and Admiring La Argentina by Kazuo Ohno (1977). Each of these pieces offer three different perceptions of artworks, three ways of speaking about/with artworks, three ways of answering to dance by dancing. The three works analyzed in the first chapter are characterized by the importance they grant to subjectivity as a vector of (perceptive and cognitive) knowledge. Thus, introducing the term “affected critique” to the term “performed reception” implemented the scope of my analysis. This term elects both the subjective dimension within these objects and my personal relationship to the works and people which have moved and “possessed” me over the course of my observations these past years. “Affected criticism” also arises from research on the careers of two dance critics – Laurence Louppe (1938-2012) and Jill Johnston (1929-2010) – which form the core of my second chapter. Through the particularities of their critical practices, I cared to question a heritage from which I wished either to differentiate myself or on the contrary to adopt and develop as my own. This research consequently developed as a progressive mise en abyme of my personal gaze as spectator and of the different ways of working as an artist and researcher. This dissertation therefore tries to embrace and account for the multiple shapes – journal entries, fragments of critical writing, analysis of artworks and artistic practices, performance material – that form as many standpoints from which to observe a body of work. A performative moment will prolong the written work of this research during the submission
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Chaffe, Tomas. "The Secret Writer." Thesis, Konstfack, Institutionen för Konst (K), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3980.
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This essay reflects a particular method and way of working that I employ when undertaking artistic research. My artworks are rooted and develop from the situation I find myself in as an artist, the very context I exhibit the work within. I do this by trying to understand this position, both on the micro and macro scale. As an artist currently studying at—and subsequently exhibiting in relation to— Konstfack, I base my research with the physical manifestation of the school. An imposing building that was part of a huge headquarters and factory site for the telecommunication company, Ericsson, in south Stockholm. The title of my essay is from the translation of a unique German cipher machine, the Geheimschreiber, made known to me through enquiry into this site. Throughout the Second World War the German army used this machine to send highly encrypted military messages across Swedish telephone cables. Following one of the greatest accomplishments in the history of cryptography, a Swedish mathematician broke this German code and subsequently assisted in designing a deciphering machine on behalf of the Swedish Intelligence branch. This device, known as the App, was secretly developed and manufactured by Ericsson, possibly where I now study. In exploring the theme of secrets, this essay originates from an underpinning desire and subject of my work to reveal what is concealed or overlooked. Through researching and writing this essay I attempt to have a better understanding on the notion of secrets, in both the private and public realms. Introducing the artistic process and situation I am working from, I explore the central role that secrets play within society. In order to understand secrecy today I introduce the intertwined and associated contemporary debates of privacy, (both private and public) and transparency through such subjects as Google’s new privacy policy, mobile phone hacking, WikiLeaks and offshore banking.
Books on the topic "Public artworks"
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Woodbridge, Sally Byrne. San Francisco architecture: The illustrated guide to over 1000 of the best buildings, parks, and public artworks in the Bay Area. San Francisco: Chronicle Books, 1992.
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Op den Kamp, Claudy. The Greatest Films Never Seen. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462981393.
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Orphan works, or artworks for which no copyright holder is traceable, pose a growing problem for museums, archives, and other heritage institutions. As they come under more and more pressure to digitize and share their archives, they are often hampered by the uncertain rights status of items in their collections. The Greatest Films Never Seen: The Film Archive and the Copyright Smokescreen uses the prism of copyright to reconsider human agency and the politics of the archive, and asks what the practical implications are for educational institutions, the creative industries, and the general public.
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Center, Hudson River HealthCare, ed. This is substancial [i.e. substantial]: Public artwork by Grimanesa Amorós. Peekskill: Hudson River HealthCare Center, 2008.
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United States. Works Progress Administration and Fine Arts Program (United States. Public Buildings Service), eds. WPA artwork in non-federal repositories. 2nd ed. [Washington, DC]: U.S. General Services Administration, Public Buildings Service, Historic Buildings and the Arts Center of Expertise, Fine Arts Program, 1999.
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Jonietz, Fabian, Mandy Richter, and Alison G. Stewart. Indecent Bodies in Early Modern Visual Culture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463725835.
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The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered ‘decent’ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.
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Mary, Priester, and Tri-County Metropolitan Transportation District of Oregon., eds. Westside Light Rail public art guide: A guide to integrated artwork on Westside MAX. Portland, Or: Tri-County Metropolitan Transportation District of Oregon, 1998.
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Cinquegrani, Alessandro, Francesca Pangallo, and Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.
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Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.
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Council, North Carolina Arts, ed. Creating place: North Carolina's artworks for state buildings. Raleigh, NC: North Carolina Arts Council, 2002.
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(Editor), Carole Glickfeld, and Laura Harper (Illustrator), eds. Good Kids: The story of ArtWorks. SODO Publishing, 2007.
Find full textBook chapters on the topic "Public artworks"
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Kimmel, Laurence. "Artworks in public space: the role of Thresholds." In Architecture of Threshold Spaces, 181–94. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003133889-13.
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Barbereau, Tom, Johannes Sedlmeir, Reilly Smethurst, Gilbert Fridgen, and Alexander Rieger. "Tokenization and Regulatory Compliance for Art and Collectibles Markets: From Regulators’ Demands for Transparency to Investors’ Demands for Privacy." In Blockchains and the Token Economy, 213–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95108-5_8.
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AbstractArt and collectibles markets tend to involve lower liquidity and higher fees than public equity markets. Distributed ledger technology can tokenize artworks and collectibles, so that claims to these assets can be exchanged digitally without intermediaries. Tokenization offers investors access to a global market plus a digitized paper trail, as well as new options for the fractional ownership of artworks, art-collateralized loans, and yield-bearing art assets. The main challenge for tokenization researchers and platform developers is to simultaneously satisfy regulators’ demands for transparency and auditability as well as art investors’ demands for privacy. New technological solutions are required that enable market participants to disclose the absolute minimum amount of information that is demanded by regulators. We investigate how distributed ledger technology, cryptography, and digital identity management can help address this challenge.
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Akay, Ali. "How does visual artwork publicize forgotten memories?" In Public Space Democracy, 300–302. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003193753-24.
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Lo, Hsienfu, I.-Ting Wang, and Gao Yang. "Assessment of the Sense of Pleasure in Public Artwork in Living Environment." In Cross-Cultural Design. Methods, Tools and User Experience, 555–69. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22577-3_40.
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Green-Cole, Ruth. "Painting Blood: Visualizing Menstrual Blood in Art." In The Palgrave Handbook of Critical Menstruation Studies, 787–801. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_57.
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Abstract While there are isolated cases of reverence for menstruation, many societies impose a strict set of rules about the visualization of menstrual blood in art and visual culture. Green-Cole examines these hegemonic and patriarchal codes controlling discussion, commemoration, or visualization of menstruation, which have been internalized by millions of women worldwide as negative and shameful. One of the main tools used to maintain menstrual stigma is to erase the presence of the scene of menstruation in speech, image, and representation. Green-Cole argues that by publicly acknowledging menstruation and making it visible, the artworks discussed in this chapter are instrumental in undermining this stigma. She demonstrates how this process of undermining also changes what we assume to be the function and value of art. Finally, Green-Cole analyzes the ways in which artists have used paint to signify or stand in for blood as a challenge to the decorum of modernist formalism, which conveniently erased women’s issues.
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Basu, Sean, Kimaya Basu, and Thomas H. Austin. "Crowdfunding Non-fungible Tokens on the Blockchain." In Silicon Valley Cybersecurity Conference, 109–25. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96057-5_8.
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AbstractNon-fungible tokens (NFTs) have been used as a way of rewarding content creators. Artists publish their works on the blockchain as NFTs, which they can then sell. The buyer of an NFT then holds ownership of a unique digital asset, which can be resold in much the same way that real-world art collectors might trade paintings.However, while a deal of effort has been spent on selling works of art on the blockchain, very little attention has been paid to using the blockchain as a means of fundraising to help finance the artist’s work in the first place. Additionally, while blockchains like Ethereum are ideal for smaller works of art, additional support is needed when the artwork is larger than is feasible to store on the blockchain.In this paper, we propose a fundraising mechanism that will help artists to gain financial support for their initiatives, and where the backers can receive a share of the profits in exchange for their support. We discuss our prototype implementation using the SpartanGold framework. We then discuss how this system could be expanded to support large NFTs with the 0Chain blockchain, and describe how we could provide support for ongoing storage of these NFTs.
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"EXPERIENCING PUBLIC SPACE:." In Cultivating Perception through Artworks, 89–121. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21ptrvw.7.
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Lippens, Ronnie. "Forward! Coding, decoding and recoding law in public art for urban regeneration." In Law in Popular Belief. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719097836.003.0008.
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This chapter explores the coded dimension of large public artworks (sculptures or installations in particular). Public space is dotted with such artworks, many on a monumental scale. The focus of the chapter is on the normative codes that are embedded in both the material structure and the aura of the works. When authorities decide to commission public artworks the brief to artists will often include specifications that pertain not just to the desired visual and expressive effect of the work (the artwork is then supposed to express a particular idea or content) but also to a more normative intention. The artwork is then required to tap into or mobilise an existing set of cultural, social or political codes, or indeed consolidate, propagate or even generate them. An element in the normative coding of public artworks, which this chapter deals with relates to notions of public order that the works are assumed to radiate and project. The chapter shows how the intended codes embedded in the artwork are bound to be subjected to continuous de-coding and re-coding.
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Abusaada, Hisham. "Cinematic Works-Based Affective Urban Design Atmospheres." In Advances in Human Services and Public Health, 120–32. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3576-9.ch007.
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This chapter examines the dilemma of using the term “atmospheres” related to architectural history. It theorises the nature of this relationship, developing an analytical framework creating the architecture of the city as similar to artwork. In this chapter, the authors investigated through the aspects of cinematic works—ideas, themes, and dramatic text—and overarching effects of the technical elements. The question is: How can the urban designer use the artworks in the field of urban design? This chapter discusses the atmospheres in many artworks of Western and Egyptian thought to explore the effect of the architecture of cities in creating the atmospheres of the cities.
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Chattopadhyay, Budhaditya. "8 Land, Field, Meadow." In The Auditory Setting, 87–91. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.003.0008.
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The third chapter consists of nine smaller sub chapters that discuss relevant sequences from film and sound/media artworks where generic sites (e.g. land, field, meadow; forest, jungle; village, rural environment; indoors; riverbank, beach, island; street, public squares, urban neighbourhood; public transport; airport; underwater, outer space) are the specific settings for narration or the select sites for recording and documenting sound for site-aware artwork. Critical listening is employed to analyse relevant passages from a number of films and representative artworks developed from specific sites. The critical listening and reflective analysis of these artworks shed light on the artistic transformation of ambient sounds recorded from select sites producing what will be termed ‘manufactured presence’ and ‘poetic presence’ in the spatial experiences of films and media artworks, respectively. These works are studied thoroughly to understand the strategies employed in their production of ambient sound as a specific component evoking a sense of presence and embodied experience, whereby the rich sonic environments of the sites are mediated, transformed and modified to form augmented atmospheres that satisfy different storytelling and artistic production tastes and approaches.
Conference papers on the topic "Public artworks"
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Zubair, Anis, Elta Sonalitha, Salnan Ratih, Bambang Nurdewanto, Kukuh Yudhistiro, and Irfan Mujahidin. "Blackbox Testing Using Fuzzy Clustering Based on Boundary Value Analysis on The Text Opinion Mining Application in Traditional Culture Arts Presentation." In International Conference of Science Management Art Research Technology. RSF Press & RESEARCH SYNERGY FOUNDATION, 2020. http://dx.doi.org/10.31098/ic-smart.v1i1.21.
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The success of organizing a traditional work of art cannot be separated from the important role of data and information obtained from the public in general, and viewers or art connoisseurs in particular. This information is an indicator that can be used to measure the amount of public attention to traditional arts, which is an effort to promote traditional cultural arts. Data and information related to traditional artworks were obtained from filling out the instruments that were distributed to the public online to produce an opinion form that contained a complete description with a discussion containing the aesthetic of the artwork. Opinion data is needed as a measure of progress and preservation of a work of art. The linguistic measurement of opinion can be solved using fuzzy methods in a cryptic form that can be weighted. In this study, the authors tested the audience opinion text mining application on the presentation of traditional cultural artworks using fuzzy clustering using the functional testing method (Black box testing). Through this test will be discussed related to the menu or module to produce information.
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Oppenlaender, Jonas, and Simo Hosio. "Towards Eliciting Feedback for Artworks on Public Displays." In C&C '19: Creativity and Cognition. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3325480.3326583.
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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.
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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition
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Ruiz de Villa, Arturo, Javier Oliva, and Iñaki Auzmendi. "Design of structural systems for artworks fabrication and installation in urban areas." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2377.
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<p>In urban areas, besides structures such as bridges and buildings, big sculptures are each day more common as major pieces of public art. Although these artworks are not meant to satisfy needs as housing or transport, they play an important role in the city: they are major pieces of art made accessible to everyone that enhance the environment and contribute to the urban planning.</p><p>Major sculptures must withstand the same load types as the rest of the city’s infrastructure, for example strong winds and earthquakes. The analysis of these structures is an unorthodox field for civil engineers where new challenges appear: complex shapes, innovative materials, new fabrication techniques… Moreover, public art is a field that continually evolves. Art and engineering become two aspects of the same creative process and the interaction between professionals is fundamental.</p><p>In this work, several success cases in design, fabrication and installation of artworks by some international artists in inhabited areas all over the world are presented. We reflect on the limits in analysis and design focusing on the limitations imposed by the engineering codes. The search for compromise solutions that produce safe structures that still send the artist’s message is also discussed.</p>
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Backhouse, Andrew, and Sukanya Hägg Mameng. "Duplex stainless steels: sustainable materials for highly durable structures." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.1619.
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<p>Stainless steels are well known for their durability in the built environment, having been widely used in external building cladding, street furniture and public artworks; the 1930’s stainless steel roof of the Chrysler Building is a fine example. Modern steelmaking techniques have facilitated the production of stainless steels with 85% recycled content and the production of high strength duplex stainless steels. High strength minimizes the weight of steel required and the inherent corrosion resistance means there is no need for additional corrosion protection even in aggressive coastal environments. These properties allow duplex steels to be efficiently used as durable structural engineering materials. The corrosion performance of several stainless steels, including a newly developed duplex grade LDX2404 (EN1.4662/UNS82441) has been studied in coastal atmospheric conditions. The performance of stainless steels under these test conditions is found to be similar to the performance in existing structural applications in comparable real-world environments. It is observed that the performance of a stainless steel grade can be adequately assessed in a given environment after only a few months or years, as the onset of any detrimental corrosion effects become visibly evident rather quickly. Appropriately selected grades of stainless steel for a given environment can be fully resistant to corrosion effects, and thus can be considered highly durable materials for bridges and other structural uses in the external environment.</p>
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Delllape, Clarice, and Rachel Zuanon. "Art-Neuroscience: poetic-artistic investigations on the impacts of Hostile Architecture on the homeostasis of users in the central region of the Sao Paulo city, in the context of COVID-19 pandemic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.132.
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This research is based on the theoretical and poetic-artistic production on the theme "Hostile Architecture", which comprises urban elements and practices that restrict the permanence of individuals in public space, such as metal spikes on walls or boulders under viaducts. The reason why these elements are placed in the public space is related to security and they serve to inhibit undesirable social behavior, although they promote fear and, as consequence, leave abandoned spaces in the city which become susceptible to violence. It mainly affects the homeless population, but also affects delivery men, people with low mobility, families with children, among others urban dynamics. By limiting urban shelter, these hostile urban elements and practices act as aggressive stimuli, which disturb the balance of the human organism and are intensified with the socio-economic aggravations intensely triggered by the COVID-19 pandemic. The initial focus of this study is the central region of Sao Paulo (the biggest city in Brazil and the most affected by the pandemic, with the highest number of cases and deaths) and a critical bias of such practices is proposed, especially regarding its impacts on the biological homeostasis of users in this region. Therefore, the research is based on cooperation between the fields of Architecture and Cognitive and Behavioral Neurosciences, especially in the concept of Homeodynamic Environments and Products. The research methodology comprises a transdisciplinary approach and involves four main stages of development: [a] literature review under the Hostile Architecture theme; [b] theoretical articulation between the proposed theme and the concepts of Cognitive and Behavioral Neurosciences, especially from the perspective of biological homeostasis concept; [c] field research aimed at the observation, recording, analysis and interpretation of users behavior in face of the stimuli caused by hostile urban elements/practices, as well as the application of unstructured interviews with the referred public, to find out how such elements affect their physical and mental states during the pandemic context. The material resulting from these analyzes is the basis for the concept and development of the artworks produced by the artist-author; and [d] conception and development of a physical-digital poetic-artistic proposal. The poetic-artistic proposal is produced from two articulated approaches: the first is a digital platform for collective mapping of hostile architecture elements in Brazil territory as well as for discussion and scientific dissemination about the hostile architecture theme, through texts and posts on social networks. In this way, all collected material is organized in an interactive map with photos and their locations. The platform broadens critical perspectives and encourages reflections about the hostile architecture through drift and photographic action. The second one comprises the author-artist's poetic practice, elaborated as drawings, collages, three-dimensional objects and digital art. It is based on her immersion in each research development stage mentioned above, which aims to present and discuss new possibilities of presence and urban experience in pandemic and post-pandemic contexts.
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Borda, Sylvia Grace. "Digital image archives as public artwork and community engagement." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.31.
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Alonso, Miguel, Bruna Costa, and Luca Ribeiro. "Trying to read: the "In Memorian" artwork." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.124.
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In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pixel, according to the daily number of deaths by covid-19 in the country. The authors of this presentation are members of the Realidades Group, thus, this analysis will be filled with our creative processes, poetic motivations and the development phases of the artwork. In Memorian exposes the precarious situation of the democratic rights guaranteed by the mentioned article of the Brazilian constitution. Brazil couldn't control covid-19 pandemic. Researches pointed out that it was due to a series of omissions and failures by public managers, mainly the federal government. However, the democratic rights have been under attack for longer. Brazil’s political scene has become dominated by openly conservative, "anti-politics" and "anti-science" wills, quite driven by desinformation and fake news. And all these relationships are fundamental to the development of the work. It seeks to materialize and illustrate hundreds of thousands of deaths in order to make visible the colossal size of human loss. The amount of deaths shatter the black words over the white background, damaging the text and making the reading more difficult. On the work’s website, the text is exhibited in perspective and can be vertically scrolled. It also contains an interactive ruler that shows the Brazilian daily and total number of deaths, enabling the interactor to move across the timeline. The visual character of a ‘monument for the dead’ complaints the governmental negligence that causes this amount of suffering, actions that must not be simply forgotten. In addition, it points out the need for more transparency of covid’s diagnosis and deaths registration and comments on the alarming political scenario that surrounds the sanitary crisis. Furthermore, this artwork is a data visualization piece, which is a very much explored technique used by multimedia artists. We will address its usage to enhances the visibility of things that are often hard to see. We will show another similar artwork in theme, 'Inumeráveis”, 2020, created by a collective of volunteer artists and journalists. Claiming that "alive or dead, we will never be [just] a number", the site is an online monument that features shared stories about the victims, giving individuality to each of them. In Memorian was in the online exhibition EmMeio#13 associated with the Panoramas 2021 event. Additionally, we point out its interaction in different social networks and its own numerical and online nature. The pandemic crisis in Brazil and around the world is not a past reality, still claiming countless lives. Unfortunately, the artwork remains operational.
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Guerrero Balarezo, Maria Laura, and Kayvan Karimi. "Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6069.
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Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art is one of them. Social and economic products of urban art have been studied, but the spatial manifestation and impact have been largely absent from the discourse of urban morphology. Spatial conditions are representational of social practices like art, by structuring patterns of movement, encounter and separation in the city (Cartiere & Zebracki, 2016). This study aims to discover the spatial relation between urban art displays and the network of public spaces, and whether this pattern has a role in neighborhood regeneration. To identify these relations in Shoreditch, London, Space Syntax analysis and spatial clustering were used, combined with a survey of geographically located public urban art (extracted from social networks data). Also, the spatial patterns of land prices and land uses from 1995 to 2016 were examined. Research showed that various types of artwork have a strong relation with certain spatial network characteristics and visibility of locations from each other. Economic and use outcomes were also related to the development of the art pattern through the years.
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Ayanthi, D. M. A., and Sarasi Munasinghe. "Text-to-Face Generation with StyleGAN2." In 10th International Conference on Foundations of Computer Science & Technology (FCST 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120805.
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Synthesizing images from text descriptions has become an active research area with the advent of Generative Adversarial Networks. The main goal here is to generate photo-realistic images that are aligned with the input descriptions. Text-to-Face generation(T2F) is a sub-domain of Text-to-Image generation(T2I) that is more challenging due to the complexity and variation of facial attributes. It has a number of applications mainly in the domain of public safety. Even though several models are available for T2F, there is still the need to improve the image quality and the semantic alignment. In this research, we propose a novel framework, to generate facial images that are well-aligned with the input descriptions. Our framework utilizes the highresolution face generator, StyleGAN2, and explores the possibility of using it in T2F. Here, we embed text in the input latent space of StyleGAN2 using BERT embeddings and oversee the generation of facial images using text descriptions. We trained our framework on attributebased descriptions to generate images of 1024x1024 in resolution. The images generated exhibit a 57% similarity to the ground truth images, with a face semantic distance of 0.92, outperforming state-of-the-artwork. The generated images have a FID score of 118.097 and the experimental results show that our model generates promising images.