The Effect Of Public Art On Public Spaces Poets Worms And Street Art

Public art is thought to enhance the public space of our cities. Public art plays a vital role in public space because it adds creativity to the space and gives the public space a focus. The variety of public art available in public space creates vibrancy and contributes to inclusive spaces which can lead to engagement with public art and with people in public spaces. These kinds of artworks, which are freely available for everyone to interact with either intellectually or physically, can have an effect on the built environment, not only in the beautification of the city or the design of the public spaces, but also on the general public s psyche. This book addresses two main research questions: What are the characteristics of good public spaces? and How does public art contribute to good public spaces? To answer these questions the book will focus on three main public spaces in Dunedin each having its own distinctive artwork. These include, the Robert Burns statue in the Octagon; the Worm sculpture in the Botanic Gardens; and street art around Bond and Vogel streets."

Bachelor Thesis from the year 2015 in the subject Sociology - Habitation, Urban Sociology, University of Otago (Geography), course: Geography, language: English, abstract: This research will explore the effect public artworks have on public space in the city of Dunedin in New Zealand. For a small city, Dunedin has a fairly vibrant public art scene. There is a mixture of street art, sculptures and statues placed in many parts of the city's open spaces. This research will focus on three main public artworks in Dunedin, which are, the Robert Burns statue in the Octagon, the Worm sculpture in the Botanic Gardens, and street art around Bond and Vogel streets in Dunedin's Warehouse Precinct. While all of these types of artworks can be interactive in some way, a key issue is how different types of interaction with public art might shape the experiences of public spaces in different ways. For example, the street art which is gaining popularity in Dunedin's Bond and Vogel streets would not be interactive in the same manner as using touch to interact with sculptures such as the Ouroubrous which is colloquially known as the Worm sculpture in the Botanic Gardens (Note: this dissertation will refer to it as Worm sculpture ). Street art by local and international artists around city walls of Dunedin reveal powerful images which can make people contemplate art or specific social or political issues whereas sculptures might form a more physical effect such as using body movements to reveal emotions (Hawkins, 2013; Pile, 2010). Choosing specific examples of public artworks from statues to street art, this research will explore how public art contributes to public space."

This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Whilst most writing about public art has focused on the aesthetic, cultural and political intentions and processes that shape its production, this edited collection examines a variety of public artworks from the perspective of their actual everyday use. Contributors are interested in the rich diversity of peoples’ engagements with public artworks across various spatial and temporal scales, encounters which do not limit themselves to the representational aspects of the art, and which are not necessarily as the artist, curator or sponsor intended. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art and media installations.

This exciting new collection of essays by practicing artists, curators, activists, art writers, administrators, city planners, and educators offers divergent perspectives on the numerous facets of the public art process. The volume also includes a useful graphic timeline of public art history.

In this groundbreaking anthology, twenty-two artists, architects, historians, critics, curators, and philosophers explore the role of public art in creating a national identity, contending that each work can only be understood by analyzing the context in which it is commissioned, built, and received. They emphasize the historical continuum between traditional works such as Mount Rushmore, the Washington Monument, and the New York Public Library lions, in addition to contemporary memorials such as the Vietnam Veterans Memorial and the Names Project AIDS Quilt. They discuss the influence of patronage on form and content, isolate the factors that precipitate controversy, and show how public art overtly and covertly conveys civic values and national culture. Complete with an updated introduction, Critical Issues in Public Art shows how monuments, murals, memorials, and sculptures in public places are complex cultural achievements that must speak to increasingly diverse groups.

The Everyday Practice of Public Art: Art, Space, and Social Inclusion is a multidisciplinary anthology of analyses exploring the expansion of contemporary public art issues beyond the built environment. It follows the highly successful publication The Practice of Public Art (eds. Cartiere and Willis), and expands the analysis of the field with a broad perspective which includes practicing artists, curators, activists, writers and educators from North America, Europe and Australia, who offer divergent perspectives on the many facets of the public art process. The collection examines the continual evolution of public art, moving beyond monuments and memorials to examine more fully the development of socially-engaged public art practice. Topics include constructing new models for developing and commissioning temporary and performance-based public artworks; understanding the challenges of a socially-engaged public art practice vs. social programming and policymaking; the social inclusiveness of public art; the radical developments in public art and social practice pedagogy; and unravelling the relationships between public artists and the communities they serve. The Everyday Practice of Public Art offers a diverse perspective on the increasingly complex nature of artistic practice in the public realm in the twenty-first century.

This collection of original essays takes a multi-disciplinary approach to explore the theme of failure through the broad spectrum of public art and social practice. The anthology brings together practicing artists, curators, activists, art writers, administrators, planners, and educators from around the world to offer differing perspectives on the many facets of failure in commissioning, planning, producing, evaluating, and engaging communities in the continually evolving field of art in the public realm. As such, this book offers a survey of currently unexplored and interconnected thinking, and provides a much-needed critical voice to the commissioning of public and participatory arts. The volume includes case studies from the UK, the US, China, Cuba, and Denmark, as well as discussions of digital public art collections. The Failures of Public Art and Participation will be of interest for students and scholars of visual arts, design and architecture interested in how art in the public realm fits within social and political contexts.

Public art is produced and ‘lived’ within multiple, interlaced and contested political, economic, social and cultural-symbolic spheres. This lively collection is a mix of academic and practice-based writings that scrutinise conventional claims on the inclusiveness of public art practice. Contributions examine how various social differences, across class, ethnicity, age, gender, religion, ability and literacy, shape encounters with public art within the ambits of the design, regeneration and everyday experiences of public spaces. The chapters richly draw on case studies from the Global North and South, providing comprehensive insights into the experiences of encountering public art via a variety of scales and realms. This book advances critical insights of how socially practised public arts articulate and cultivate geographies of social difference through the themes of power (the politics of encountering), affect (the embodied ways of encountering), and diversity (the inclusiveness of encountering). It will appeal to scholars, students and practitioners of cultural geography, the visual arts, urban studies, political studies and anthropology.