Public Artist Research Articles

‘이응노의집’과 새롭게 이응노 활용하기: 창조적 파괴의 개념을 통해 본 이응노의 예술세계와 ‘이응노의집’의 미래경영

Since the early 2000s, a large number of public art museums have opened in Korea, marking public recognition of the importance of such museums. The number of public art museums will continue to grow at an increasing rate, further strengthening their influence on the society. This study intends to examine the current state of public artist museums in Korea, and then focus specifically on Maison d’Lee Ungno which opened in 2011 to commemorate Lee Ungno’s art world. It also aims to propose a future management plan for Maison d’Lee Ungno based on the concept of creative destruction. Creative destruction, a notion put forward by Joseph Schumpeter, is a process of innovating existing practices through the continual combination and adoption of new ideas. Given the relative absence of modern art museums dedicated to particular artists in Korea, the proposed plan shall incorporate the creative destruction process as its core strategy.

A Conversation About Landscapes and Preservation as Justice

From the conservation of sites of enslavement, freedman villages, segregated cities, or memorials of remembrance like cemeteries and parks, African Americans have and continue to shape our shared American landscape. This article captures a dynamic conversation between landscape designer, MacArthur Fellow, and public artist Walter Hood and Brent Leggs, executive director of the African American Cultural Heritage Action Fund. They discuss the importance of preserving Black landscapes that make visible African American struggle and achievement.

Abstract of: The Theory of Non-Theory: Mindful Art Walks and Healthier Futures

An artist has the freedom, at least in theory, to move between sectors and spaces and, in the process, to connect economic and political silos. In my paper, I reflect on my practice as a visual artist and social ecologist working in public spaces and the iterative process that I adopt to connect thriving informal-sector and formal systems, impoverished and wealthy publics. The paper commences with a description of the Hyena Sculptures, upcycled found wood (Fig. 1) developed in response to Nathanael Johnson’s discussion of the urban wilderness [1]. The exhibited sculptures were a key component of the artist’s participation in the Watershed program and were supplemented by a short stop motion animation video, produced with animator Henk Coetzee to capture the hyenas as they “walked” along the inter-oceanic watershed that runs through Johannesburg, South Africa.In addition to the sculptures and video, I led guided walks along the watershed, delineated and mapped using digital elevation data so that participants were able to follow the high ridge running through the city at the point at which the drainage divides. On these walks, participants romanticized what was beneath their feet, imagining a massive underground river. In the conversations that took place while walking and in relation to the sculpture and animation, I explained how the watershed functioned, clarifying imagined ecologies and geologies, highlighting the precarity of the city’s water supply and the country’s fragility. The aim was to develop a sense of custodianship of the city and to provide examples of citizenry in public spaces through immersive experiences.Rather than translating science for an assembled public, as I discuss in the paper, art-science practices have potential as public experiments, transforming art, science and the public. Climate geographer Karen O’Brien describes this approach as implying less attention to altering or manipulating people’s behavior and more to creating the conditions that promote the development and expression of social consciousness and futures consciousness [2]. I draw on theories of cradle-to-cradle design, the circular economy, biomimicry’s design by nature and design thinking [3] to work at multiple scales as a public artist. I describe art as a means to connect people to ecosystems and the issues that impact on them. The interconnections during and after the walks created a space for dialogue about how people live in cities, disconnected from nature, provoking more questions than answers. What creates sustainable living in cities where nature is constantly pushed out? How do we achieve this? How can we make climate change adaptation accessible in participatory processes that contribute to the change?The sculptures, animation and walks at Watershed followed from and opened up new avenues for further interventions. In one long-term and continuing project, I work with ecologist Sally Archibald and other savannah ecologists, including conducting a live controlled burn as a performance by Working on Fire (a government firefighting initiative) [4]. Concurrently, through an NGO I cofounded, Water for the Future Collective, I work to build collaborations and interventions with people from environmental science, urban renewal, engineering, architecture, landscaping, art, design, sustainable development and finance. The Johannesburg Climate Change Adaptation Framework (CCAF), for example, included an “eco tree seat,” a pilot intervention designed to address stormwater management, provide shade and street seating, and maintain the local environment while providing young people with skills and supporting community inclusion. Such small-scale interventions, I argue, have the potential to bring together populations. The eco tree seat marked the moment when the city took note of a codesigned citizens’ initiative that could help us adapt to climate change and reduce flooding [5].What makes art a unique contributor is its freedom to respond to climate change and environmental precarity through the pursuit of open-ended explorations through an ever-expanding set of practices not dependent on finished “outcomes” or “solutions” [6]. In deliberately conceptualizing ways forward and drawing on embodied transdisciplinary experiences, we argue the need to codesign adaptable cities, comaintained by informal and formal sectors, rich and poor. We need more out-of-the-box thinkers to solve such wicked problems.

After the Protests Are Heard: Enacting Civic Engagement and Social Transformation by Sharon D. Welch (review)

After the Protests Are Heard: Enacting Civic Engagement and Social Transformation by Sharon D. Welch (review) Deborah J. Haynes After the Protests Are Heard: Enacting Civic Engagement and Social Transformation By Sharon D. Welch, New York University Press, 2019. Sharon D. Welch is a senior scholar who has lived her values both professionally and personally. This book is the fruition of a rich and productive life: nearly forty years teaching religion and ethics at several universities, including Harvard Divinity School, University of Missouri, and Meadville Lombard Theological Seminary; twelve years of serving in administrative capacities, including as department chair and provost; six books; thirty‐six published articles; and countless hours of public service for organizations and progressive non‐profits. Grounded in liberation theology and feminist ethics, After the Protests Are Heard traverses rich historical, theoretical, and practical territory. It is both visionary and pragmatic, presenting daunting challenges to meet lofty goals. Welch outlines the historical trajectory of movements for democratic and progressive social change. Theoretically, while remaining grounded in theological and ethical concerns, her work crosses disciplinary boundaries, ranging from political philosophy and sociology to African American spirituality and indigenous religions and cultures. Many evocative themes are discussed, including “the soul of democracy,” which is at risk in this time of exploitative capitalism, authoritarianism, and social regression; and “our Windigos,” seven intrinsic evils based on greed and isolation that are driving these political, social, and economic processes. While offering such powerful historical and theoretical analyses, Welch’s book is also pragmatic: She uses real‐world examples from businesses and non‐profits to highlight good work based on ethical values of reciprocity, generosity, and forgiveness. We get to know people at work in the world who want to foster change. Welch’s book can affect the way one approaches research and constructs teaching. In terms of research methods, Welch demonstrates skillful integration of historical, theoretical, and practical perspectives, alongside first‐person writing, hortatory messaging, interviews, and collaboration. In particular, her work with Reverend Lynda Sutherland concludes with a powerful “Just Living Passport” that is being used within the non‐profit sector and that is a fine resource for both undergraduate and graduate courses in theology and ethics. When I first read this “Passport,” I immediately began to muse about how to engage with others about its themes. Welch has a long history of working with the Engagement Scholarship Consortium, a group of universities and colleges that are committed to new pedagogical models. A fundamental goal of this work is creating mutually beneficial partnerships among faculty, students, and local communities to solve pressing social issues. Given the magnitude of our challenges, helping students undertake deep learning offers them a way not only to receive and grasp new information, but also to challenge preconceived notions behind prior patterns, assumptions, and convictions. Helping students, and all of us, to be wary of moral disengagement—ways that even decent human beings may commit and justify behaviors that we would otherwise consider morally abhorrent—is crucial (159). And not to fall prey to despair when we are strongly aware of both the magnitude of the social problems we face and simultaneously know that efforts to resolve them cannot measure up to the intensity of these issues is a worthy personal and pedagogical goal. As Welch put it so succinctly, “… our educational model is grounded in service, and grounded in insights from engaged Buddhism, Native American traditions, and feminist theory: we do not think ourselves into new ways of acting, but act ourselves into new ways of thinking and being” (162). For me, one of the most engaging, and too short, sections of this book concerns altermodernity and relational aesthetics. Coined by Nicolas Bourriaud in 2002, the term altermodern names “an emerging global formation, a shift in politics, aesthetics, and culture shaped equally by Latin America, Asia, Africa, and the West” (181). New intercultural connections are fueling both artistic and public projects; and Welch discusses public artist Theaster Gates’s work in Chicago, St. Louis, and elsewhere as an example of integrating issues of race, aesthetics, and ethics on the literal ground. Like other public and community artists, Gates embraces a “post‐studio” ethos, working alongside others...

Economies of Black Culture

This essay foregrounds the problem of commercial art in the history of African American art. Despite recent interest in graphic design and the history of capitalism, scholars of African American art tend to diminish commercial art as background context or overlook it entirely. For scholars to reckon fully with the economy, however, they must consider commerce as a critical tradition and dimension of African American art practices. I focus on commercial artist Emmett McBain and public artist William Walker—each associated with the Black Arts Movement—as well as contemporary social practice artist Theaster Gates, to illuminate the commercial dimension of black art and the work of art as a form of commerce.

Socially Engaged Art and Its Pedagogy of Citizenship

The complacent insularity of individualism provides the background against which the convivial performativity of art is conceptualized as acts of citizenship in this article. The alienated sculptural figures and figurations of Alberto Giacometti’s Piazza are considered germane in addressing the self-centered, collective obsession with socially mediated systems and technologies that prompt and perpetuate an ideology of individualism and its indifference toward socially engaged practices of art, pedagogy, and civic responsibility. As counterpoint to Herbert Marcuse’s notion of one-dimensionality and Pierre Bourdieu’s habitus, public artist Lonnie Graham’s community-based, cross-continental subsistent agricultural collaborations in the African/American Garden Project exemplify the convivial generosity of Mikhail Bakhtin’s answerability—a contingent and aleatory process of co-creation that is consistent with the interdependent citizenship of socially engaged art and its education.

Good Trouble: Post-tenure Interruptions to Our Academic ‘Routines’

As a public artist and designer, I construct spaces that connect people and ideas. The social spaces I create challenge our traditional ways of thinking, knowing, and experiencing one another and our cities. This piece presents a resistance to preset disciplinary values and a recognition that exponential rather than incremental change in an urgently evolving filed demands knew form and language. Working at what might be described as the margins of a field within a discipline that is itself often at the margins of a University necessitates both deliberate articulation and responsibility to translate less orthodox practices, off-center inquiry, ways of knowing and outputs in the tenure and promotion process. This piece challenges us to see the civic work we do as good work, and when our good work serves as an interruption to the existing status quo of the academy, then this good work serves to bridge the academy to cities in more meaningful ways.

Viewing Stones: A Virtual Exhibition

Viewing Stones:A Virtual Exhibition* Paul A. Harris (bio) and Richard Turner (bio) The term "viewing stones" is primarily associated with two traditions of stone appreciation: Chinese Gongshi (or scholar's rocks) and Japanese suiseki. Today, viewing-stone associations around the world take inspiration from these traditions and are creating new ways of displaying stones. Petraphiles, whether ancient or contemporary, are often drawn to express their appreciation of favored stones in writing. The Petraphiles represented in this virtual exhibition are diverse in their expressions of geo-affection. They are, by turns, both scholarly and poetic. In each entry there is a sense of discovery. Thomas Elias finds his Liaoshan Green Stone talking to him about the vicissitudes of life. Kemin Hu's research on a Kun stone led her unexpectedly to the original owner of the stone. Joseph Roussel's Wen stone reveals its elusive character in the play of light falling across its convoluted surface over the course of a day. Go And Catch A Falling Star (Odessa, Texas), Rick Stiles's tiny meteorite fragment, speaks to him of the vast scale of the space/time of our universe. Richard Strassberg finds new meaning in a stone that has been in his possession for decades when he recontextualizes it in an antique Chinese stone basin. In the course of a stream-of-consciousness rant about an ungainly stone in his collection, Richard Turner begins to understand the Chinese standards of stone appreciation: zhu (clumsy), chou (ugly) and guai (grotesque). [End Page 68] Paul A. Harris Pierre Jardin is an internationally acclaimed rock-gardener and stoned-thinker based in Long Beach, California. His works of Outside Art include The Garden of Slow Time (2016, Loyola Marymount U. campus) and "Igneous Ligneous Inosculations," installations exhibited at the Statens Museum for Kunst, Copenhagen (2018). As Paul A. Harris, he is Professor of English at Loyola Marymount University, Los Angeles, and co-editor of SubStance. His recent work includes collaborative readings and a coauthored story with David Mitchell (forthcoming in C21 Literature), and his current projects are "Stone is the New Green" and Viewing Stones: Contemporary Approaches to Display (co-authored with Thomas P. Elias and Richard Turner). He blogs at The Petriverse of Pierre Jardin. Richard Turner Artist/curator Richard Turner is a Professor Emeritus at Chapman University, where he taught Asian art history and studio art. He lived in Vietnam from 1959–1961. He studied Chinese painting in Taiwan in 1963–1964 and Indian miniature painting in Rajasthan in 1967–1968. He has worked as a public artist for over three decades doing projects in the western United States, ranging from water treatment plants and light rail to memorials and sacred art. He has curated three exhibitions of viewing stones displayed alongside works of fine art. A selection of his studio work, public art and curatorial projects can be viewed on his website, turnerprojects.com. Footnotes * The Viewing Stones Exhibition may be accessed at http://substancejournal.sites.lmu.edu/home/supplements/rock-records Copyright © 2018 Johns Hopkins University Press and SubStance, Inc.

Listening to the Land/Playing off the Crowd: Black Public Performance Interventions in Artmaking and Placemaking

In his leadership in the Free Movement Project,1 public artist, Rend Smith brilliantly considers how Black people have not always been able to walk the streets free and are policed for their presen...

An interview with Olivia Gude about connecting school and community arts practice

ABSTRACTOlivia Gude has a long and distinguished career as both a public artist and an art educator. She is currently the Angela Gregory Paterakis Professor and Chair of Art Education at the School of the Art Institute of Chicago (SAIC), where she works with graduate and undergraduate students to prepare for working as artist educators in school and community settings. Her scholarly work includes a number of articles and book chapters about art education and community art. Prof. Gude has worked as a community public artist for many years and has created over 30 large-scale mural and mosaic projects, working with intergenerational groups, teens, elders, and children. I interviewed Prof. Gude at the SAIC building in downtown Chicago to discuss how her school, university, and community art engagement as well as her work with the National Coalition for Core Arts Standards, might offer suggestions for transforming arts education for the twenty-first century and provide authentic connections between school and community. Prof. Gude discusses important enduring understandings and big ideas from the new Visual Arts National Core Arts Standards, the Spiral Workshop youth art and research project she created while at University of Illinois at Chicago, and how her experience as a community artist informs her work with students in classroom settings.

Maker to Market: Ruth Asawa Reappraised

This essay considers the recent emergence of sculptor Ruth Asawa as a posthumous star on the secondary art market, and the attendant efforts by Christie’s to portray her as a bohemian gamine. Although Asawa was best known towards the end of her life as a public artist in San Francisco and an activist whose work on behalf of the visual arts in public school was partly fueled by her devotion to her own children, her earlier works were discrete sculptural objects, and thus have access to second lives as collector’s items. This essay makes the case that it was not only the “hobbyist” associations with Asawa’s chosen material and technique of crocheting wire that prevented her from wider acclaim in contemporary art circles during her lifetime, but also the public and collectivist nature of both her teaching and commissioned artworks.

Stuart Davis as Public Artist: American Painting and the Reconstruction of the Public Sphere

Stuart Davis as Public Artist: American Painting and the Reconstruction of the Public Sphere

Continuity and Transformation: A Civic Heart for Chester-le-Street

Current urban policy approaches to town centres can be summarised through a cleaner, greener and safer approach. At the same time, the value of place and distinctiveness has been recognised as a cultural and economic asset. Public art is seen as helping to create memorable spaces and deliver additional value and greater connectivity with the local community, which in turn brings economic benefit and long-term sustainability (Open House / Art in the Open 2009). This paper seeks to identify how public art activates some of these generic descriptors. Chester-le-Street's Civic Heart, the refurbished market square designed by public artist Jo Fairfax, serves to exemplify art's formal, spatial, and symbolic contribution to the city. We interpret Civic Heart as what Aldo Rossi described as a primary element, that is, an urban artefact that is a receptacle of the site and its history but is also a catalytic element that contributes to the city's pattern of change and transformation. Public art, in this reading, contributes to a dynamic understanding of place; one that bridges the site's locale and history with the potential of the new and unexpected. The paper explores Civic Heart as an urban artefact through the facets of continuity and transformation.

EYFS Best Practice: All about … Woodwork

Nursery WorldVol. 2012, No. 5 FeatureEYFS Best Practice: All about … WoodworkPete MoorhousePete MoorhouseSearch for more papers by this authorPete MoorhousePublished Online:4 Mar 2014https://doi.org/10.12968/nuwa.2012.11.5.1097022AboutSectionsView articleView Full TextView EPUB ToolsAdd to favoritesDownload CitationsTrack CitationsPermissions ShareShare onFacebookTwitterLinked InEmail View articleAbstractWoodworking in early years settings fosters creativity and problem solving, says professional sculptor and public artist Pete Moorhouse. FiguresReferencesRelatedDetails 1 May 2012Volume 2012Issue 5ISSN (print): 0029-6422ISSN (online): 2059-9358 Metrics History Published online 4 March 2014 Published in print 1 May 2012 Information© MA Education Ltd

Art contribution to cities’ transformation. The role of Public Art management in Italy

Since the mid 80s the evident objective of public art has been to intervene in some infrastructures so that the historical function of a square or of a monument could be re-found with a completely new approach, thus defining a spatial whole as a social whole. Through a qualitative research approach that enlightens artists and commissioning agencies’ points of view, this paper seeks to document the creative processes that characterizes public art and to explore the democratic potential in urban artistic interventions. Although in the past, through instituting public art projects in disadvantaged and fragmented communities, policy makers consciously tried to promote a fallacious sense of shared space, true urban art would not embrace a purely decorative function and would not hesitate to break with the conventions that mark the political use of public art. Even if it is recognized that past expression of public art spoke of universalist and modernist themes, some recent Italian practices of public art are characterized by a strong collaborative effort between the public artist and the community: intended both to design the physical appearance of the city and to rebuild the relationship that underpins urban life. Thus the paper will show how the recognition of the value of public arts can lay the foundations for more integrated urban regeneration strategies driven by cultural policy imperatives.

The ‘art which conceals’: a cottage industry and the invention of Cushing's Island

The ‘art which conceals’: a cottage industry and the invention of Cushing's Island

The Arts of Democracy: Art, Public Culture, and the State (review)

Reviewed by: The Arts of Democracy: Art, Public Culture, and the State Miles Orvell The Arts of Democracy: Art, Public Culture, and the State. Edited by Casey Nelson Blake. Washington: Woodrow Wilson Center Press and Philadelphia: University of Pennsylvania Press. 2007. What is the role of the arts in promoting a democratic culture? The Arts of Democracy, which originated in a conference at the Woodrow Wilson Center, attempts to answer that question in a dozen essays on subjects relating to the competing claims of "the public" and the free expression of individuals and communities. Editor Blake would like to see the volume affirming "on balance … the notion of a democratic public sphere as a regulative ideal and a resource for political criticism," (3) but the collection itself demonstrates the real contradictions and tensions in the practice of public art, which emerges, inevitably, as a contested zone. The term itself—"the public"—is anything but simple, and what is in one instance idealized as the shared democracy of the "public sphere" can also, in other circumstances, be seen as a beast fed and nurtured by the media and the state, as when considerations of public interest (e.g., the preservation of aesthetic integrity) are used to repress freedom of speech in places such as the Washington Mall (see Leslie Prosterman's essay). The concept of "public art" is equally complex. Thus, Michele Bogart reads Norman Rockwell as a great "public artist," by reason of his giving the public what it wanted. That point is implicitly countered by Casey Blake's examination of the National Endowment for the Arts (NEA), which celebrates the liberal-modernist project (from 1969 to 1989) of giving the public, not what it wanted but what it needed—namely, great works of sculpture in public spaces. The dismantling of Serra's Tilted Arc signaled the turn away from that policy, and Blake decries the current popularity of neo-patriotic public sculpture (NEA running as far away from Mapplethorpe and Serrano as it can go). More controversially he argues that the "community arts movement" achieves local participation, but "at the cost of any aspiration to a cosmopolitan, democratic culture for the nation as a whole." (214) The history of the NEA is also central to Michael Kammen's essay, "Culture and the State," which compares it to the National Endowment for the Humanities, with its [End Page 113] increasingly emphasized state-based dissemination programs. Kammen argues importantly for what he calls "cultural federalism," government support for the arts and humanities based on collaboration rather than the earlier New Deal model, with its top-down supply of the arts to the passively consuming public. Standing somewhat apart from these historical studies is the more theoretical argument of Kenneth Cmiel, who holds that we must not confuse the whimsy of postmodernist art with the everyday need to create order and coherence in our lives; instead, we must separate the public sphere from the aesthetic, for otherwise we perpetuate the disconnect between politics and people. Other chapters can only be noted: Neil Harris (on music festivals), Vera L. Zolberg (comparing France and America), Laura A. Belmonte (art as Cold War propaganda), Penny M. Von Eschen (on Duke Ellington as cultural ambassador) Donna M. Binkiewicz (on the NEA), Paul DiMaggio and Bethany Bryson (on public attitudes toward the arts), and Sally M. Promey (on public display of religion). Covering the period from the late nineteenth century to the recent past, The Arts of Democracy is illustrated (basic B & W) and would be a valuable resource for interdisciplinary courses in Public Art, Public Space, and Public History. Miles Orvell Temple University Copyright © 2010 Mid-America American Studies Association

Accomplished in all departments of art: Hammatt Billings of Boston, 1818-1874

This book reconstructs the career of Hammatt Billings, one of the most prolific and versatile artists of the 19th century. Skilled in a wide range of media, Billings designed furniture, statuary, monuments, architecture, and public and private gardens. He was a painter in both oils and watercolors, a portraitist, and an illustrator whose drawings appeared in the original American editions of Uncle Tom's Cabin and Little Women. Although Billings worked for many private patrons, he was also very much a public artist, giving visible form to the popular celebrations of his era. He designed fireworks displays for the Boston Common, decorated buildings in times of public celebration and mourning, laid out plans for a variety of fairs and festivals, and created floats for parades.

A Response to Dominick LaCapra's "Lanzmann's Shoah"

Previous articleNext article No AccessCritical ResponseA Response to Dominick LaCapra's "Lanzmann's Shoah"Ora GelleyOra Gelley Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 24, Number 3Spring, 1998 Article DOIhttps://doi.org/10.1086/448895 Views: 8Total views on this site Copyright 1998 The University of ChicagoPDF download Crossref reports no articles citing this article.

Frederick Law Olmsted: The Passion of a Public Artist. By Melvin Kalfus. New York: New York University Press, 1990. xiii + 415 pp. Illustrations, list of abbreviations, notes, index. $44.50

<i>Frederick Law Olmsted: The Passion of a Public Artist.</i> By Melvin Kalfus. New York: New York University Press, 1990. xiii + 415 pp. Illustrations, list of abbreviations, notes, index. $44.50