Art In Public Space Research Articles

Contemporary Art in Public Spaces: Forms of Expression, Social Significance, and Revitalization

Introduction: This study examines the significance of contemporary art in public spaces, with a specific emphasis on its various manifestations, societal functions, and capacity to revitalize urban environments. It emphasizes the ways in which art enhances aesthetic enjoyment, enhances the overall quality of life, and contributes to economic growth. Methodology: A qualitative study examines the use of sculptures, installations, murals, performances, and digital artworks in urban settings. Illustrative instances of effective art initiatives demonstrate the positive impact of these interventions on public spaces. When considering a project, we carefully evaluate factors such as accessibility, interactivity, the differentiation between temporary and permanent installations, and the influence on community relations. Results: The study finds that contemporary art in public spaces expands cultural access, strengthens social bonds, and raises societal awareness. Interactive and temporary artworks particularly influence the use and perception of these spaces, promoting community identification with the environment. Discussions: Art projects like New York City's High Line and Copenhagen's Superkilen show how aesthetic improvements and cultural activities attract residents and tourists, driving economic benefits. Temporary installations and pop-up art actions offer dynamic experiences that continually draw visitors, aiding economic revitalization. Conclusions: Integrating contemporary art into urban development improves public spaces by fostering cultural experiences and contributing to social and economic growth. Cities should actively support such projects to enhance community sense and urban quality of life.

The role of public art has changed in recent times: a study

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Open Spaces – Dinamic Places: S M L XL

The article offers insights in the design practice of Maria Auböck and János Kárász, landscape architects in Vienna, Austria. The purpose of this text is to mark the occasion of us being awarded honorary professorships at MATE University. The selected methods describe the mission of Landscape Urbanism by presenting a variety of projects, each of them has a history and story of its own. The chosen design methods described include selected inspirations, for instance sketching on site, the choice of plant material and constructive challenges. The main methods applied offer varied aspects of team building, following questions for work cooperation. How can clients be motivated to consider time as a building material that extends beyond their decision-making horizon? How can affordable and attractive landscapes be created based on the insight that within these we are able to provide even added value in economic sense? How can sophisticated empty spaces be introduced in urban sites, and get public acceptance without overstaging them? To summarize the presented project palette the title “Open Spaces – Dynamic Places: S M L XL” was chosen as the article includes selected works in different scales. The projects include aspects of inner city renovation by example of a baroque monastery’s courtyard and art in public spaces (a memorial of a destroyed synagogue), explaining landscape designs for subsidized housing quarters and the urban greening of Baku- in four steps. The main aspects of the conclusion deals with landscape urbanism, a new field of planning in the challenging time of Climate Change.

Stitchers of Instagram

Stitchers of Instagram

Penanaman seni kontemporer pada abad ke 21

Creating a dynamic landscape of creativity, reflecting profound changes in media, technology, and reflections on social reality, this research highlights the evolutionary journey of art in the modern era. It discusses paradigm shifts in art media, the influence of technology that has given birth to new creative expressions, and the role of contemporary art in responding to social reality. The research also explores the integration of contemporary art in public spaces, transforming it into a visual language that stretches beyond the traditional boundaries of art galleries. Reception challenges and educational measures to broaden the appreciation of contemporary art are also the focus of discussion. Summarizing these elements provides a snapshot of the dynamics and complexities of cultivating contemporary art in the 21st century—a creative journey involving transformation, reflection, and ever-evolving dialogue. By weaving meaning through innovation and inclusion, contemporary art remains a means to permeate the richness of modern creativity, shaping cultural identity amidst the changing times

Features of Digital Public Art of the Twenty-First Century: Art of Physical and Virtual Space

The purpose of the article is to identify the peculiarities of contemporary practices of digital public art as one of the new forms of art of the twenty-first century that actively interacts with urban space. Research methodology. The method of systematic analysis and synthesis (to consider digital public art practices as part of contemporary art), the method of cultural and historical analysis (to study the trends in the development of public art at the early twenty-first century), the typological method and the method of comparative analysis (to identify the features and typology of digital public art practices, as well as to determine their differences). Scientific novelty. Contemporary digital practices of public art are studied. Artistic interventions of media art in public space as a means of social intervention are considered. On the basis of comparative analysis, the differences between the practices of digital public art as an independent subgenre of public art created, managed, and distributed in cyberspace are revealed. Conclusions. Digital public art is a unique form of contemporary art existence outside the artistic infrastructure, which is created and disseminated in public space through cyber technologies in order to problematise various topical issues of both the art of the early twenty-first century and the space in which it is presented. At the present stage, digital public art objects are an integral part of the urban space. Despite the availability of new technical means of presentation, public art remains a connection with conceptual issues (identity creation and inclusive community participation). Digital practices of public art in line with the aesthetics of postmodernism, according to which it is important to overcome the vacuum, a certain isolation of artistic practice, and to understand ontological states. Demonstrating the idea of accessibility of the cultural collage of the contemporary space, they illustrate the tendency of transgressive processes of the boundaries of cultural form, the convergence of mass and elitist culture. The main characteristics of digital practices of public art are interactivity, technology, dynamism, attractiveness, and sociality.

Street art as a vehicle for environmental science communication

Street art is visual art in public spaces — public art — created for public visibility. Street art addresses a massive and extremely diverse audience: everyone in a city. Using a case study approach, this article explores: 1) the extent to which science-inspired environmental street art can be considered a vehicle for science communication in less tangible science contexts and institutional settings — on the street — and 2) the strategies that street artists deploy to communicate their environmental messages through large-scale painted murals. This article clarifies how street art can be understood as a means of creative grassroots environmental communication. It shows that, and how, street art can encourage agency in pro-environmentalism and help to develop our relationship with sustainability.

Traces of health-A landscape design task as a diagnostic aid for detecting mental burden? A qualitative focus group study.

Mental disorders are most common causes of illness worldwide. Studies on art and drawing tasks, such as the tree-drawing test have already proven their prognostic quality for the diagnosis of Alzheimer's disease, depression or trauma. In the depiction of art in public space, gardens and landscapes are one of the oldest human forms of artistic expression. This study thus aims at exploring the impact of a landscape design task as a prognostic tool to detect mental burden. A total of 15 individuals (eight female) aged between 19 and 60 years completed the Brief Symptom Inventory BSI-18 and the State Trait Anxiety Inventory (STAI-S) before being asked to design a landscape in a 3 × 3 m squared area. Material to be used included plants, flowers, branches, and stones. The complete process of landscape design was videotaped and the tapes were analyzed in a two-step focus group analysis from a group of gardening trainees, psychology students and students of arts therapies. Results were condensed in a second step into major categories. Scores of the BSI-18 showed a range of 2-21 points and STAI-S scores ranged between 29 and 54 points indicating a light to moderate mental burden. Focus group participants identified three mutually perpendicular major components associated with mental health: "Movement and Activity," "Material Selection and Design," and "Connectedness to the task." In a subsample of the three least and three most mentally stressed subjects (based on their GSI and STAI-S scorings), clear differences were found in body posture, action planning and the choice of material and aspects of design. In addition to the well-known therapeutic potential of gardening, this study for the first time showed that gardening and landscape design contains diagnostic elements. Our preliminary findings are in coherence with similar research indicating a high association of movement and design patterns with mental burden. However, due to the pilot nature of the study, the results should be interpreted cautiously. Based on the findings further studies are currently planned.

Installation Art in Public Spaces as Socio-Spatial Framing of Place: Case Study Loominous River Installation Art (2022)

As a means to revitalise sluggish cities, public and private investment agencies have taken a keen interest in public installation art. As place-making initiatives endeavour to attract valuable trained human talent to their cities, local governments and city councils have deemed art in public spaces indispensable. Installation art in public spaces is crucial for revitalising run-down areas of a city. By placing the individual's perception at the centre of the aesthetic experience, installation art has the potential to help people perceive the city in a different way. Through novel corporeal experiences, it is possible to introduce new narratives of the city. Moreover, such experiences are essential for creating memories and fostering a sense of belonging among the city's residents. The commissioning of installation art is a complex creative process involving multiple stakeholders and public funds. This exploratory essay seeks to examine the public commissioning of installation art as a means to instigate socio-spatial relationships framing a specific location. The primary case study is Loominous River (2022), one of the commission beneficiaries of Thinkcity and Cendana's Project Light in 2021. Through empirical observations of the production process from conception to completion, the author attempts to establish the relationship between installation art and place-making.

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Flow As An Operative Methodology Generating The Time Of Intersection Through The Relationship Between Architecture And Artwork In Public Space

Time has always fascinated men for its (apparently) inviolable structure and for the poetic dimension that this concept brings with it. During the history of civilization, time has been a crucial concept to understanding reality. At the beginning of the Twentieth century, thanks to the scientific discoveries, above all, Albert Einstein’s general relativity theory, the notion of time became an important element also for science for understanding the structure of the universe. The continuous and ever-faster scientific discoveries have also dissolved the linearity of time and its very nature, offering new possibilities to rethink space-time, as a series of connected, but not necessarily linear, events. Something we are experiencing today through the multi-temporality of the digital world, but which at the same time also shifts our way of perceiving physical reality.Everything we do and produce is inevitably part of a space-time dimension. We can therefore interpret time - also - as a distinctive structural element of the things that human beings build, whether small or large, from tools to metropolises.In this background, it is very interesting to understand how time works in two of the most symbolic categories of objects of human creation, art, and architecture, focusing more specifically on the category of art in public space. The time that works into the artwork is naturally different from the time that works into architecture, that is, observing art in public space, there are two different times that overlap, or rather the architectural space (and time) houses inside of it, the space (and time) of the work of art. The overlapping of these two different times, inevitably creates a third time, that we will call a “Time of Intersection”, which becomes the subject of this paper.

Memorials as a part of the political symbolic space in Prague

Memorials, as pieces of art in public space, have not only an aesthetic function, but also a commemorative, representative, and ideological one. They materialize social discourse and national values that change over time. The social relationship to memorials shapes their symbolism, which is a part of the political symbolic space. The aim of the article is to determine how memorials are involved in this symbolic space (how memorials from various eras are distributed in Prague, which localities might have symbolic connotations, and how this symbolism can be interpreted). Free-standing memorials in the public space of Greater Prague have been included in the research, demonstrating different spatial patterns and symbolism. While the most dominant memorials, dedicated to figures associated with the Czech National Revival, are concentrated in the city center, war memorials, the most common type of memorial, are scattered evenly throughout the city. The reinterpretation of historical events and memorials after the fall of Communism has created conflicting sites of memory, which relate to current Czech-Russian relations and the aftermath of the historical Czech-German national conflict.

Art and Ethico-Political Value

Abstract Work in feminist and critical race aesthetics brings out a complex interaction between aesthetic, ethical, and political value. The interest in ethico-political considerations is also found in recent literature around art and ethics, such as debates about the work of immoral artists, cultural appropriation and heritage, and art in public spaces. These discussions are characterized by a social structural approach to the ethico-political value of art that focuses on relations between artworks, other artefacts, and individuals in specific sociohistorical contexts and as they emerge from specific social organizations. In this paper I present the main features and assumptions behind these social structural approaches to the values of art. I examine accounts that take ethico-political value to depend on artworks’ contributions to public discourse and on their role in constituting social structures.

ACT_VISION

This paper takes the form of personal memoir as a reflection on art in the public domain and a means by which to re-tell the conceptual development and evolution of IMAG_NE, a concrete poem and public sculpture. The concept was first developed for my Masters of Arts (Art in Public Space) at RMIT University. Initially an aid to assist my own personal creative evolution, the artwork has now toured as an ephemeral installation to communities across Australia, New Zealand, Europe and the United States of America and has been widely used as a tool to promote community initiatives and collective visioning. Joseph Beuys’s theories of a “social sculpture” are drawn upon as a conceptual framework to underpin IMAG_NE and its agenda to promote individual and societal change. The power of the human imagination is evoked in an ongoing conference with a broad range of sites, communities and individuals. The impact of IMAG_NE is demonstrated through key examples including its appearance at numerous large public sculpture festivals and significant cultural sites. Recent developments surrounding the work’s presence in the Central Coast community of New South Wales, Australia, provides further evidence of the work’s importance and impact, and motivation for the continuation of the project into the post-Covid 19 pandemic era.

Maximizing use of Poetry and Art in Public Spaces for Promoting Language Development

Over time, graffiti has inspired art and poetry exhibits by marginalized youth, once excluded by elite museums, now is surging in popularity, and being curated in public spaces at airports, subways, parks, street corners, and even construction sites. This paper highlights Hope at Hand, Inc., an established North Florida nonprofit provider that uses therapeutic art and poetry exhibitions in public spaces to help incarcerated youth recognize and overcome circumstances that limit their successful participation in society. Also, the paper reviews similar international art exhibitions that re-envision the ways museums can decolonize and support more community engagement and inclusive language learning. The lessons learned will demonstrate the ways in which exhibiting poetry and visual art can engage youth and create spaces for promoting cultural awareness. This holistic intervention framework integrates poetry, museum best practices and the arts for bridging and empowering lives. It fills a critical void in knowledge and practice between the arts, museum studies, public health, and citizenship, by considering place-based research in creating a more kind and inclusive society with the arts.

Experiencing art in city space on the example of the environment of the Galeria Labirynt in Lublin

Art in public space is still untapped potential. The garden at ‘Labirynt’ Gallery is an opportunity to publish a work of art and a place for a wide range of artistic activities. Here, access to works will be free and universal, and the art exhibited in public space will enter into a dialogue with the viewer. The design concept was influenced by the terrain, the existing vegetation, and the gallery building style. A new communication system, elements of small architecture, plantings, and illuminations were designed. The design of the Gallery’s surroundings was to make the facility recognizable and friendly.

The Illusionist

The Illusionist

Application and Research of Interactive Design in the Creative Expression Process of Public Space

The 21st century is an era full of opportunities and challenges for the media industry, the new media form has been unprecedentedly expanded, and the innovators who have a forward-looking vision try to break the traditional mode of information dissemination. The one-way information dissemination mode of traditional media cannot fully satisfy the needs of the public in the information age, and the design form of public space should no longer be tied to traditional media attributes. The interactive characteristics of new media is used to guide the audience to participate in the communication and interaction, which can effectively arouse the audience's resonance and meet the audience's demand for information reception and feedback. This paper starts with the background of the definition of new media, the interactive characteristics of new media and the public space art, focuses on interactive design thinking and interactive design method, provides guidance for the creative expression process of new media public space.

Contributions of Art in Public Space to the Riverside Urbanity: Amasya Examplar

Amasya is a multilayered city with the Yeşilırmak river flowing through and historical Yalıboyu houses on the riverbank in the city center. This area has been the object of attempts to transform it into a tourist attraction. The Yalıboyu Promenade, which was built by filling the area between the Yalıboyu houses and the Mağdenüs Bridge and the Taş Bridge in the south of Yeşilırmak, started to become a public space on which art began to take place after the 2000s. How the art performed in the riverside area affects the urban design is the departure point of this study. The research question is whether the public artwork along the riverbank promenade contributes to the urban image. The aim is to investigate the artwork on the bank and discuss their relationships to the city. The methodology consists of one phase is about the urban reading method of Lynch, the positions of the artwork as focal points have been discussed. Findings show that in the existence of a historical texture, art fails to have the aspired effect. What fits better the future projection is to implement aesthetic public art to revive new urban areas designed in the public areas of the city for the different focal points.

Study on the Path of Continuous Participation of Digital Art in Public Space in 6G IoT Communication

With the intervention of digital art in recent years, the quality and vitality of urban public space have been greatly enhanced. However, with the wide application of digital art and the gradual maturity of communication technology, especially in the upcoming 6G era, the application scenario of digital art will be an extension of the “line” to “surface” and then to “body.” Digital art design is no longer a single surface or a single dimension, but a comprehensive design in terms of the breadth and depth of information; the network and the user are seen as a unified body, and the user’s needs will be deeply explored and realized. With the most cutting-edge means of communication, artificial intelligence, and big data, these technologies and art merge to create a new way to appreciate art. To this end, digital art will also be in this artificial intelligence and human intelligence in a harmonious symbiosis of the environment in the depth of the user’s needs and the formation of a new dimension of interaction. Based on the “five-in-one” theory, the study introduces media literacy, technology acceptance model, and user experience theory as influencing factors and explores the influence of emotional experience, interaction experience, sensory experience, perceived usefulness, perceived ease of use, and media literacy on users’ willingness to continuously participate through qualitative comparative analysis. The results of the study show that there are three paths that influence users’ willingness to continuously engage, namely, affective experience ∗ interactive experience ∗ sensory experience ∗ perceived usefulness ∗ perceived ease of use; affective experience ∗ interactive experience ∗ perceived usefulness ∗ perceived ease of use ∗ perceived entertainment ∗ medium literacy, and ~ affective experience ∗ interactive experience ∗ sensory experience ∗ ~perceived ease of use ∗ perceived usefulness ∗ medium literacy. The paths suggest that users’ willingness to sustain participation is influenced by a variety of factors, among which interactive experience and perceived usefulness are essential factors affecting the users’ willingness to participate. User participation is an important manifestation of the vitality of urban public space, and the analysis of the factors influencing users’ willingness to sustain participation provides theoretical guidance for the design and application of digital art in the upcoming Internet of everything space.