Details

<p>List of Illustrations x</p> <p>Notes on Contributors xii</p> <p>Acknowledgements xx</p> <p>A Companion to Public Art: Introduction 1<br /><i>Cher Krause Knight and Harriet F. Senie</i></p> <p><b>Part I Traditions 13</b></p> <p>Introduction 15<br /><i>Cher Krause Knight and Harriet F. Senie</i></p> <p><b>Artists’ Philosophies<br /><br /></b>Memory Works 25<br /><i>Julian Bonder</i></p> <p>Public Art? 30<br /><i>Antony Gormley</i></p> <p>Natural Phenomena as Public Monuments 34<br /><i>Alan Sonfist</i></p> <p>1 Memorializing the Holocaust 37<br /><i>James E. Young</i></p> <p>2 Chilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance 51<br /><i>Marisa Lerer</i></p> <p>3 Modern Mural Painting in the United States: Shaping Spaces/Shaping Publics 75<br /><i>Sally Webster and Sylvia Rhor</i></p> <p>4 Locating History in Concrete and Bronze: Civic Monuments in Bamako, Mali 93<br /><i>Mary Jo Arnoldi</i></p> <p>5 The Conflation of Heroes and Victims: A New Memorial Paradigm 107<br /><i>Harriet F. Senie</i></p> <p><b>Part II Site 119</b></p> <p>Introduction 121<br /><i>Cher Krause Knight and Harriet F. Senie</i></p> <p><b>Artists’ Philosophies</b></p> <p>Give That Site Some Privacy 129<br /><i>eteam (Hajoe Moderegger and Franziska Lamprecht)</i></p> <p>The Grandiose Artistic Vision of Caleb Neelon 135<br /><i>Caleb Neelon</i></p> <p>6 Sculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago 139<br /><i>Eli Robb</i></p> <p>7 In the Streets Where We Live 164<br /><i>Kate MacNeill</i></p> <p>8 Powerlands: Land Art as Retribution and Reclamation 176<br /><i>Erika Suderburg</i></p> <p>9 Waterworks: Politics, Public Art, and the University Campus 191<br /><i>Grant Kester</i></p> <p>10 Augmented Realities: Digital Art in the Public Sphere 205<br /><i>Christiane Paul</i></p> <p><b>Part III Audience 227</b></p> <p>Introduction 229<br /><i>Cher Krause Knight and Harriet F. Senie</i></p> <p><b>Artists’ Philosophies</b></p> <p>Practical Strategies: Framing Narratives for Public Pedagogies 239<br /><i>Suzanne Lacy</i></p> <p>Public Art in a Post‐Public World: Complicity with Dark Matter 245<br /><i>Gregory Sholette</i></p> <p>11 Audiences Are People, Too: Social Art Practice as Lived Experience 251<br /><i>Mary Jane Jacob</i></p> <p>12 Contextualizing the Public in Social Practice Projects 268<br /><i>Jennifer McGregor and Renee Piechocki</i></p> <p>13 Art Administrators and Audiences 285<br /><i>Charlotte Cohen and Wendy Feuer</i></p> <p>14 Poll the Jury: The Role of the Panelist in Public Art 296<br /><i>Mary M. Tinti</i></p> <p>15 Participatory Public Art Evaluation: Approaches to Researching Audience Response 310<br /><i>Katherine Gressel</i></p> <p><b>Part IV Frames 335</b></p> <p>Introduction 337<br /><i>Cher Krause Knight and Harriet F. Senie</i></p> <p><b>Artists’ Philosophies</b></p> <p>The Virtual Sphere Frame: Toward a New Ontology and Epistemology 347<br /><i>John Craig Freeman</i></p> <p>The Elusive Frame: “Funny,” “Violent,” and “Sexy” 353<br /><i>Tatzu Nishi</i></p> <p>16 The Time Frame: Encounters with Ephemeral Public Art 359<br /><i>Patricia C. Phillips</i></p> <p>17 The Memory Frame: Set in Stone, a Dialogue 376<br /><i>Amanda Douberley and Paul Druecke</i></p> <p>18 The Patronage Frame: New York City’s Mayors and the Support of Public Art 386<br /><i>Michele H. Bogart</i></p> <p>19 The Process Frame: Vandalism, Removal, Re‐Siting, Destruction 403<br /><i>Erika Doss</i></p> <p>20 The Marketing Frame: Online Corporate Communities and Artistic Intervention 422<br /><i>Jonathan Wallis</i></p> <p>21 The Mass Media Frame: Pranking, Soap Operas, and Public Art 435<br /><i>Cher Krause Knight</i></p> <p>Epilogue 457<br /><i>Cameron Cartiere</i></p> <p>Index 465</p>

<p><b>Cher Krause Knight</b> is Professor of Art History at Emerson College, USA. She is the author of <i>Power and Paradise in Walt Disney's World</i> (2014; paperback 2019); and <i>Public Art: Theory, Practice and Populism</i> (Blackwell, 2008). With Harriet F. Senie she also co-edited and contributed to <i>Museums and Public Art?</i> (2018). Together, Knight and Senie co-founded Public Art Dialogue, an international professional organization devoted to providing an interdisciplinary critical forum for the field. They also co-founded and co-edited the journal <i>Public Art Dialogue,</i> the first peer-reviewed journal devoted specifically to public art. <p><b>Harriet F. Senie</b> is Professor of Art History and Director of the M.A. program in Art History and the Art Museum Studies track at City University, New York, USA. She also teaches at the CUNY Graduate Center. She is the author of <i>Memorials to Shattered Myths: Vietnam to 9/11</i> (2015); <i>Dangerous Precedent? The 'Tilted Arc' Controversy</i> (2001); and <i>Contemporary Public Sculpture: Tradition, Transformation, and Controversy</i> (1992). With Cher Krause Knight she co-edited and contributed to <i>Museums and Public Art?</i> (2018), and with Sally Webster, <i>Critical Issues in Public Art: Content, Context, and Controversy</i> (1992; revised edition 1998).

<p><b>A Companion to Public Art</b> <p><i>A Companion to Public Art</i> is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale. Edited by Cher Krause Knight and Harriet F. Senie, two distinguished scholars in this burgeoning field, it brings together established and emergent scholars ranging from art and architectural historians, critics, public art curators and art administrators, as well as artists. <p>With 19 essays in four sections—tradition, site, audience, and critical frameworks—the <i>Companion</i> assesses public art as it is taught, thought about, and talked about within the field, and how it is conceived in the public and popular imagination. The essays discuss important topics including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, time and memory, patronage, and the intersection of public art and mass media. In addition to perspectives from scholars and professionals in the discipline, it contains contributions by artists. These "artist's philosophy" essays address larger questions about an artist's body of work and the field of public art, by Julian Bonder, eteam (Hajoe Moderegger and Franziska Lamprecht), John Craig Freeman, Antony Gormley, Suzanne Lacy, Caleb Neelon, Tatzu Nishi, Greg Sholette, and Alan Sonfist. <p>Authoritative and indispensible, this guide is essential reading for anyone involved in the teaching, creating, commissioning, and contemplating of public art.

US