A Companion to Public Art

A Companion to Public Art is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale.* Edited by two distinguished scholars with contributions from art historians, critics, curators, and art administrators, as well as artists themselves* Includes 19 essays in four sections: tradition, site, audience, and critical frameworks* Covers important topics in the field, including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, and the intersection of public art and mass media* Contains "artist's philosophy" essays, which 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.

Notes on Contributors xAcknowledgements xviiiA Companion to Public Art: Introduction 1Cher Krause Knight and Harriet F. SeniePart I Traditions 13Introduction 15Cher Krause Knight and Harriet F. SenieArtists' PhilosophiesMemory Works 25Julian BonderPublic Art? 30Antony GormleyNatural Phenomena as Public Monuments 34Alan SonfistMemorializing the Holocaust 37James E. YoungChilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance 51Marisa LererModern Mural Painting in the United States: Shaping Spaces/Shaping Publics 75Sally Webster and Sylvia RhorLocating History in Concrete and Bronze: Civic Monuments in Bamako, Mali 93Mary Jo ArnoldiThe Conflation of Heroes and Victims: A New Memorial Paradigm 107Harriet F. SeniePart II Site 119Introduction 121Cher Krause Knight and Harriet F. SenieArtists' PhilosophiesGive That Site Some Privacy 129eteam (Hajoe Moderegger and Franziska Lamprecht)The Grandiose Artistic Vision of Caleb Neelon 135Caleb NeelonSculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago 139Eli RobbIn the Streets Where We Live 164Kate MacNeillPowerlands: Land Art as Retribution and Reclamation 176Erika SuderburgWaterworks: Politics, Public Art, and the University Campus 191Grant KesterAugmented Realities: Digital Art in the Public Sphere 205Christiane PaulPart III Audience 227Introduction 229Cher Krause Knight and Harriet F. SenieArtists' PhilosophiesPractical Strategies: Framing Narratives for Public Pedagogies 239Suzanne LacyPublic Art in a Post?]Public World: Complicity with Dark Matter 245Gregory SholetteAudiences Are People, Too: Social Art Practice as Lived Experience 251Mary Jane JacobContextualizing the Public in Social Practice Projects 268Jennifer McGregor and Renee PiechockiArt Administrators and Audiences 285Charlotte Cohen and Wendy FeuerPoll the Jury: The Role of the Panelist in Public Art 296Mary M. TintiParticipatory Public Art Evaluation: Approaches to Researching Audience Response 310Katherine GresselPart IV Frames 335Introduction 337Cher Krause Knight and Harriet F. SenieArtists' PhilosophiesThe Virtual Sphere Frame: Toward a New Ontology and Epistemology 347John Craig FreemanThe Elusive Frame: "Funny," "Violent," and "Sexy" 353The Time Frame: Encounters with Ephemeral Public Art 359Patricia C. PhillipsThe Memory Frame: Set in Stone, a Dialogue 376Amanda Douberley and Paul DrueckeThe Patronage Frame: New York City's Mayors and the Support of Public Art 386Michele H. BogartThe Process Frame: Vandalism, Removal, Re?]Siting, Destruction 403Erika DossThe Marketing Frame: Online Corporate Communities and Artistic Intervention 422Jonathan WallisThe Mass Media Frame: Pranking, Soap Operas, and Public Art 435Cher Krause KnightEpilogue 457Cameron CartiereIndex 465