From the other Side: Public Artists on Public Art

Blum, Andrea; Conwill, Houston; Johanson, Patricia; Kozloff, Joyce; Sonfist, Alan; Sugarman, George; Tacha, Athena; Weber, John; Zimmerman, Elyn

doi:10.1080/00043249.1989.10792652

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…A recent focus in public art is ensuring its relevance to the public by addressing community identity and sense of place in order to meeting its audiences' needs (Deutsche 1990: 115;Doss 1992: 64). By making community connections more apparent, contextualized public art can meet its goal of making art widely accessible and relevant (Blum 1989). The way Native public artwork is presented can also determine whether or not it receives more than superficial recognition (Thomas 1999: 247).…”

Section: Art For the Pubic At Museums And Public Art Sitesmentioning

confidence: 99%

Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

Biddison

2006

etudinuit

View full text Add to dashboard Cite

Dans cet article j'évalue comment l'art contemporain autochtone de l'Alaska est présenté au public en examinant les perspectives des artistes, des expositions sur l'art, et les réactions des spectateurs. Mon but est de justifier le besoin d'examiner la représentation des cultures autochtones de l'Alaska dans les musées et les lieux publics d'art à Anchorage en Alaska. En particulier, je veux souligner l'importance des présentations d'art autochtone de l'Alaska d'après leur contexte, en utilisant des perspectives multiples et des médias d'interprétation fondés sur la collaboration entre les lieux d'exposition, les artistes et les communautés autochtones. De bonnes présentations didactiques peuvent en effet répondre aux différentes exigences de divers publics. Elles peuvent en plus profiter de l'attention spéciale donnée à l'art autochtone américain et euro-américain ailleurs, et défier les idées préconçues qui diminuent les réalisations des artistes autotchones et limitent les perceptions des cultures autochtones de l'Alaska.In this article, I evaluate how Alaska Native contemporary art is presented to the public by examining artists’ perspectives, artwork exhibits and viewer reception of the art. My goal is to substantiate the need to critically address how Alaska Native cultures are represented at museum and public art venues in Anchorage, Alaska. In particular, I seek to emphasize the importance of creating contextualized presentations of Alaska Native art using multiple perspectives and interpretative media based on collaboration between exhibitors and Native artists and communities. More inclusive informative presentations can begin to address the differing requirements of a variety of audiences, utilize the critical attention given to Native American and Euro-American art elsewhere, and provoke a re-thinking of stereotyped preconceptions that continue to diminish the accomplishments of Alaska Native artists and limit perceptions of Alaska Native cultures

show abstract

Section: Art For the Pubic At Museums And Public Art Sitesmentioning

confidence: 99%

Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

Biddison

2006

etudinuit

View full text Add to dashboard Cite

show abstract

“…Fleming and Goldman 2005), artists themselves (e.g. Blum et al 1989;Diamond 2004) and scholars (e.g. Burk 2006;Beunders 2007;Cordes and Goldfarb 2007;Clements 2008;Pollock and Paddison 2010;Visconti et al 2010;Jancovich 2011) In what has now become a classic work, Evictions (1996), Deutsche, inspired by the literature on radical democracy which, one could argue, dominated 1990s humanities and social sciences debates, came to realise that there is not such a thing as a 'public space' or a 'public sphere' if by those words is meant a 'space' or a 'sphere' that would operate according to particular (e.g.…”

Section: Public Art Introductory Notesmentioning

confidence: 99%

Angels, warriors, and beacons: Totemic law, territorial coding, and monumental sculpture in post-industrial landscapes

Lippens

2017

Semiotica

View full text Add to dashboard Cite

National or local authorities regularly commission artists to build or construct sculptures and artworks destined for a place in a public space. Some of those sculptures and artworks are monumentally huge. Positioned in the open landscape, they are visible from a considerable distance. This contribution focuses on three such sculptures in the United Kingdom. The first, 'Angel of the North', was completed in 1998 and is standing at Gateshead in the North East of England. The second, 'Anglo Saxon Warrior', has not yet been built to a massive scale -although smaller, life-size versions were-but some debate has taken place in Stoke-on-Trent in North Staffordshire in the West Midlands about the possibility and remote likelihood of its construction. The third, 'Golden', is, however, at the time of writing, in the process of being assembled with an eye on erecting it, in 2014, at the very same location, Stoke-on-Trent. Proposals for all aforementioned artworks emerged against the backdrop of regional de-industrialisation and were, at least partly, devised as an answer to economic and social deprivation in both regional localities. In this contribution an effort is made to tease out the symbolic intricacies embedded in all three artworks. Although all include references to what could be called the eternal origins of a mythical common law universe, each suggests, projects, and attempts to encode a moral and legal order in quite distinctly different ways.

show abstract

From the other Side: Public Artists on Public Art

Cited by 2 publications

References 0 publications

Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

Angels, warriors, and beacons: Totemic law, territorial coding, and monumental sculpture in post-industrial landscapes

Contact Info

Product

Resources

About