Abstract
“We live in a toxic world,” asserts Suzi Gablik in The Reenchantment of Art, “not just environmentally but spiritually.”1 For Gablik, remediation lies in the paradigm of art as participation, whereby art making is redefined in terms of “social relatedness and ecological healing, so that artists will gravitate towards different activities, attitudes, and roles than those that operated under the aesthetics of modernism.”2 In Mapping the Terrain: New Genre Public Art, Suzanne Lacy terms such work new genre public art and characterizes it as “visual art that uses both traditional and nontraditional media to communicate and interact with a broad diversified audience about issues directly relevant to their lives.”3 Differentiating new genre public art from what has been called public art, Lacy distinguishes the former by the level of engagement shared by artist and audience, the propensity for attacking media boundaries, and the effective implementation of social strategies.
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