By Cher Krause Knight, Harriet F. Senie
A spouse to Public Art is the single scholarly quantity to envision the most matters, theories, and practices of public artwork on a entire scale.
- Edited by means of unusual students with contributions from paintings historians, critics, curators, and paintings directors, in addition to artists themselves
- Includes 19 essays in 4 sections: culture, website, viewers, and important frameworks
- Covers vital themes within the box, together with valorizing sufferers, public artwork in city landscapes and on college campuses, the position of electronic applied sciences, jury choice committees, and the intersection of public artwork and mass media
- Contains “artist’s philosophy” essays, which handle higher questions about an artist’s physique of labor and the sphere of public artwork, by way of Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist.
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Extra resources for A Companion to Public Art
The memorial structures built to commemorate all of these events focus on the victims rather than the events that caused their deaths, thereby conflating both heroes and victims. Senie’s chapter analyzes the formation and implications of this new type of commemoration, evermore common in memorial culture. Although there are undoubtedly times when the hero and victim are one and the same too often memorials contribute to the blurring of these identifications, confusing rather than clarifying the historical events and figures being memorialized.
2007. 7 (September). Senie, Harriet F. 2016. Memorials to Shattered Myths: Vietnam to 9/11. New York; Oxford: Oxford University Press. Weyergraf‐Serra, Clara, and Martha Buskirk, eds. 1991. The Destruction of Tilted Arc: Documents. Cambridge, MA: MIT Press. Williams, Paul. 2007. Memorial Museums: The Global Rush to Commemorate Atrocities. Oxford: Berg. Part I Traditions Introduction Cher Krause Knight and Harriet F. Senie Before we used the term “public art” to designate works in public spaces such projects consisted almost exclusively of memorials; today we consider memorials a distinct category of public art, one with a very long history.
The word “memorial,” in turn, refers to “memento,” that is, a thing – or more precisely a command – to mind and remind. Instead of a form, a shape, or an image, monumentality may well be a quality, the quality 26 ◼ ◼ ◼ julian bonder that some places or objects have to make us recall, evoke, think, and perceive something beyond themselves. As a place of memory work and common remembrance, a monument or memorial is intended to be historically referential. As embodiments of memory through art in the public realm, their value is not only based upon or derived from the artwork but from their ability to direct attention to larger issues, a certain point beyond themselves.