Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  PUBLIC ART
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

THE WEIGHT OF EXPERIENCE AND THE EMPTINESS OF URBAN SPACE. RICHARD SERRA'S 'TILTED ARC' (Ciezar doswiadczenia i próznia przestrzeni miejskiej. Wokól 'Tilted Arc' Richarda Serry)

100%
Rejniak-Majewska A.
Przegląd Kulturoznawczy
|
2008
|
vol. 1
|
issue 1(4)
120-133
EN
The article revises a particular example of public art. Richard Serra's 'Tilted Arc', which provoked one of the most famous art controversies in the 80s. In America. Commisioned in 1979 by the General Services Administration (GSA), on recommendation of the National Endowment for the Arts, 'Tilted Arc' was installed on Federal Plaza in Lower Manhattan, a vast space flanked by government office buildings. However, after severe protests, mainly from the public officials, who complained about the sculpture's ugliness, GSA finally decided to replace it. The situation was unique, for the most other cases, after a period of public incomprehension and opposition, controversial public works usually gained acceptation. This time the striving to 'protect public controversy' overshadowed the work even in time of its existence, which seems to be a paradox, for Serra insisted that his main interest was the physical and corporeal experience of place. While bringing forth the material reality and 'the weight of experience', his steel sculptures were intended to be a form of resistance to the contemporary image-oriented world. To critically assess 'Tilted Arc' means to elaborate on its relation with the site. Serra's sculpture was to be site-specific, i.e. inseparable from the place in which it resided. It should not be considered as a discrete aesthetic object, he claimed, but as a 'sculptural field'. In their architectural scale and spatial arrangement, Serra's sculptures call sttention to the mutual transitivity of seen and seen, in a way which reminds M. Merleau-Ponty's remarks from his 'Phenomenology of Perception'. What it means, however, is that the specificity of the site is not the subject of the work - articulating its historical or social conditions is not Serra's aim. His sculpture would rather introduce the viewers in its own context, keeping to a language of its own. At the same time, however, in the case of 'Tilted Arc', Serra was fully conscious of the challenging quality of his work. He refused to 'cooperate' with the bureaucratic milieu of Federal Plaza. With its dull, overscaled architecture from the 60s. Instead of offering some aesthetic enhancement, formal focus and adornment, 'Tilted Arc' seemed to expose the emptiness and the abstract character of the site. In this way, it formed an 'obstacle to imagining the nonexistent public space'. The radical anti-aesthetic strategy presented in 'Tilted Arc' still remains a point of critical controversy: for most critics it is a typical example of modernist aloofness that proved to be ineffective in public realm, for others it was a weighty manifestation of criticality, which needs an autonomous (formal) logic if it is not to dissolve in the field of social discourses.
2

PUBLIC ART

100%
Dziamski G.
Kultura i Społeczeństwo
|
2005
|
vol. 49
|
issue 1
47-55
EN
There are two concepts of public art; the old one and the new one. The first one can go back to the 1960s. Old public art had modern and formalist character, in fact it meant art in public places. The new public art is postmodern and anti-formalist, it is paradoxical offshoot of dematerialization of art and relates rather to the public sphere than to public places. It aims at permanent extension of the field of discursivity and undermining the 'communist fiction' that society has one common goal which could be uncovered by scientific research. New public art defends the public sphere in which those, who are ruled should have the same right to speak as those who rule; it defends politics against various forms of depoliticization of social life. New public art moves the interest of artists (Joseph Beuys, Hans Haacke, Christo, Jenny Holzer, Barbara Kruger and others) from aesthetics to politics, from art to life, or to put it in other words - from artlike art to lifelike art. postmodernizm
3

WHAT IS PUBLIC ART?

100%
Krajewski M.
Kultura i Społeczeństwo
|
2005
|
vol. 49
|
issue 1
57-77
EN
The main goal of the article is to define new kind of artistic practice - public art. The author presents fundamental formulations of this phenomenon in art criticism and history of art, and proposes his own approach. According to it public art is such a kind of artistic practice, which takes place outside traditional artistic institutions and whose main goal is to create public sphere and to materialize democratic order. The article contains some reflections upon public art genesis and evolution and argues that public art shouldn't be defined as another kind of art because it is a very particular specific cultural practice. The author also attempts to present changes of public art in the last four decades and create classification of public art genres.
4

FROM OBJECT TO SITUATION: TRANSFORMATIONS OF PUBLIC ART (No objekta lidz situacijai: publiskas makslas transformacijas)

75%
Krese S.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
223-244
EN
Latvian equivalent of the term 'public art' reads as 'art in public space' that narrows its semantic scope, pointing towards art's spatial context and disregarding the aspects of communication between art and public, public commission and accessibility. Today the public dimension is often identified with a psychological, not physical spatial construction. It functions not as a real category but more like an ideological artefact, contradictious and fragmentary structure, and politicised social product. The development of public art leads from bronze monuments, the most familiar 19th-century form of public art, to enlarged models of museum works, set up in urban space and endowed with a decorative function. The further advance continues with site-specific objects where the place becomes the part of artwork. Situationists' and their followers' practice as well as community art practice and manifestations of socially marginalised groups in public space significantly widen the boundaries of public space. In the 1980s the so-called new genre public art arrives on the scene - a new kind of public or social art that is 'not derived from the typology of material, space or artistic medium but rather from the concept of audience, mutual communication and political intent'. The dialogue between the spectator and artist acquires the status of an artwork. Nicolas Bourriaud states that a new communicative language has appeared, based on relational aesthetics, and the artist's role has changed from that of producing an object to offering a service. Conceptualising again the model of white cube, contemporary art offers a laboratory, a platform for interdisciplinary activities often striving to use public space. Human interaction and its social context often becomes the 'raw material' for artists' works based on relational aesthetics. In Latvia there are changes in the mastering of public space as well. During the last decades artists' creative thought has been modified, favouring conceptual solutions, more often realised as short-term projects instead of monumental commissioned works. This article examines three large-scale international projects ('Monument', 1995; 'Ventspils. Transit. Terminal', 1998/1999, 're:public', 2003) that were realised in the public space of Latvia during the last decades
5
Publication available in full text mode
Content available

Po wstędze Moebiusa. Miejskie działania artystyczne jako próba recyklingu przestrzeni publicznych

51%
Izdebska K.
Opuscula Sociologica
|
2012
|
issue 2(2)
45-59
PL
W przestrzeń wpisana jest pamięć, historia, codzienne zdarzenia, ludzkie wspomnienia i fi zyczne elementy, które mogą stać się materią, podlegającą wtórnej obróbce, opartej na procesach przechowywania, sortowania, przetwarzania, powtórnego wykorzystania. Treści zawarte w określonej przestrzeni przyjmują formę przypominającą wstęgę Moebiusa. Ten swoisty recykling oznacza system obiegu elementów materialnych i niematerialnych danej przestrzeni, które mogą być wielokrotnie przetwarzane. Takiemu procesowi podlegają zwłaszcza obszary zdegradowane, zmarginalizowane, dysfunkcjonalne (m.in. poportowe). Zakładając, że jednym ze środków odzyskiwania przestrzeni jest sztuka publiczna, w artykule podjęto próbę odpowiedzi na pytania: jaką rolę odgrywa ona w kreowaniu, przetwarzaniu i odzyskiwaniu przestrzeni miejskich, jakie są przyczyny i funkcje działań artystycznych typu site-specific i community-art oraz jaki jest ich społeczny skutek.
EN
History, everyday events, human memories and physical elements are interweaved with the space around us. They constitute materials which are subject to recycling; the processes of storing, sorting, processing and re-use. Information contained in a particular space has a form that resembles a Moebius band, creating a system of recycling with a circulation of tangible and intangible elements from that given space which can be constantly processed. This form of process applies especially to degraded, marginalized or dysfunctional spaces (e.g., defunct ports). On the assumption that one way of recovering space is through public art, it has been attempted in the paper to discuss the role of art in creating, processing and recovering our urban spaces, as well as the conception and functions of site-specifi c artistic actions and community-art in public spaces, along with their social impact.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.