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In his intriguing examination of Civil War remembrance as a public art, Thomas Brown uses civic monuments, ceremonial oratory, historical reenactment, and other forms of commemoration to explore how Americans have addressed issues of nationhood, race relations, gender, and cultural continuity in periods of social and economic upheaval. Drawing on the latest scholarship, Brown provides an informative narrative frame for 24 rich primary texts that range chronologically from the Gettysburg Address to recent debates over display of the Confederate flag. The volume includes more than 30 illustrations of public monuments and mass-circulated prints to help students learn to interpret visual evidence. A chronology of Civil War commemoration, questions for consideration, and a bibliography provide strong pedagogical support.

This book takes a bold look at public art and its populist appeal, offering a more inclusive guide to America's creative tastes and shared culture. It examines the history of American public art – from FDR's New Deal to Christo's The Gates – and challenges preconceived notions of public art, expanding its definition to include a broader scope of works and concepts. Expands the definition of public art to include sites such as Boston's Big Dig, Las Vegas' Treasure Island, and Disney World Offers a refreshing alternative to the traditional rhetoric and criticism surrounding public art Includes insightful analysis of the museum and its role in relation to public art

Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work’s aesthetics are inextricably entwined with its political valences. Democracy’s openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency.In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago’s Millennium Park and New York’s National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.

Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work’s aesthetics are inextricably entwined with its political valences. Democracy’s openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency.In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago’s Millennium Park and New York’s National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.

Used book that is in excellent condition. May show signs of wear or have minor defects.

What makes a good schoolhouse? Beyond the basics of classrooms and library, a good school inspires students and teachers and enhances the learning environment through its architecture and its art. Nowhere is this principle better demonstrated than in the New York City school system, the largest in the United States, where a collection of more than 1,500 artworks has been assembled over nearly 150 years. This extraordinarily diverse group ranges from stained glass by Tiffany Studios to vast mural cycles commissioned by the WPA to modern and contemporary works by Hans Hofmann, Ben Shahn, Romare Bearden, Faith Ringgold, and Vito Acconci. Education has been a priority for Mayor Michael R. Bloomberg, and school construction and public art have expanded dramatically under his leadership. New school buildings have been commissioned from noted architects including Polshek Partnership, Pei Cobb Freed, and Arquitectonica, with installations by Tony Oursler, Sarah Morris, and James Casebere.Public Art for Public Schools provides a comprehensive and insightful account of the history and future of this program, lavishly illustrated with archival images from the Department of Education and handsome new photographs by the noted architectural photographer Stan Ries, which were specially commissioned for this publication.

Very Good condition. Shows only minor signs of wear, and very minimal markings inside (if any). 2.5

Unread book in perfect condition.

A tour of the best permanent public art in all five boroughs of New York City. From outdoor sculpture in public plazas and landscapes to murals and works of art in lobbies accessible to the public, this book focuses on how exemplary works of public art enrich urban public space. Sponsored by the Municipal Art Society, Public Art New York is organized by neighborhood, with maps suitable for walking tours. 250 color photographs and maps

The face of public art is changing. In recent years, a new generation of artists has rejected the monumental scale and mass appeal of conventional public sculpture, instead favoring unconventional forms that disrupt rather than embellish a particular location. Public Art (Now) is the first survey of the most influential forms of the past decade that are redefining the practice of public art today. Some 40 key projects from around the world are highlighted, with detailed descriptions and installation and process shots. Interviews and quotes from practitioners, commissioners and commentators reveal the context for each project, while an introduction sets out the conceptual, practical and ethical issues raised by the work. This dynamic combination of projects, places and people is both a must-have reference book for art-world specialists and an accessible introduction to the subject. Among the featured artists are Mike Kelley, Francis Alÿs, Superflex, Paul Chan, Susan Philipsz and Theaster Gates.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

This book takes a bold look at public art and its populist appeal, offering a more inclusive guide to America's creative tastes and shared culture. It examines the history of American public art – from FDR's New Deal to Christo's The Gates – and challenges preconceived notions of public art, expanding its definition to include a broader scope of works and concepts. Expands the definition of public art to include sites such as Boston's Big Dig, Las Vegas' Treasure Island, and Disney World Offers a refreshing alternative to the traditional rhetoric and criticism surrounding public art Includes insightful analysis of the museum and its role in relation to public art

Public Art by the Book is a nuts and bolts guide for arts professionals and volunteers creating public art in their communities. Should a public art program depend on public funding, public-private partnerships, or both? What are the roles that citizens can play in their community's public art program? Can artists themselves ever initiate public artworks? With a wealth of wisdom on practical issues, this book offers information on a variety of topics such as public art planning, funding, and governance; establishing legal agreements with artists; and commissioning single artworks or creating comprehensive art programs. Since the earliest monuments and memorials were installed in the United States, definitions of public art have continued to evolve. Franklin D. Roosevelt's presidency saw the creation of the Works Progress Administration and the beginning of comprehensive federally sponsored art programs, and 1950s Philadelphia became the first city to pass percent-for-art legislation. As artists have turned their attention toward creating in the public realm rather than simply placing their art in public spaces, public art has assumed a much broader role in community life than ever before. Since the 1990s, the public art resources available to artists and their communities have greatly expanded.Today there are more than three hundred government-funded public art programs in the United States, in addition to scores of public-private partnerships and private agencies creating art in public spaces. Public Art by the Book is the definitive resource for information on public art for local government, arts agencies, arts professionals, and artists themselves. Examples included are cited from cities such as Charlotte, Houston, Los Angeles, New York, Phoenix, Portland, San Diego, and Seattle.Barbara Goldstein is public art program director for San Jose's Office of Cultural Affairs.

The face of public art is changing. In recent years, a new generation of artists has rejected the monumental scale and mass appeal of conventional public sculpture, instead favoring unconventional forms that disrupt rather than embellish a particular location. Public Art (Now) is the first survey of the most influential forms of the past decade that are redefining the practice of public art today. Some 40 key projects from around the world are highlighted, with detailed descriptions and installation and process shots. Interviews and quotes from practitioners, commissioners and commentators reveal the context for each project, while an introduction sets out the conceptual, practical and ethical issues raised by the work. This dynamic combination of projects, places and people is both a must-have reference book for art-world specialists and an accessible introduction to the subject. Among the featured artists are Mike Kelley, Francis Alÿs, Superflex, Paul Chan, Susan Philipsz and Theaster Gates.

In this collection distinguished American and European scholars, curators and artists discuss major issues concerning the representation and commemoration of slavery, as brought into sharp focus by the 2007 bicentennial of the abolition of the slave trade. Writers consider nineteenth and twentieth century American and European images of African Americans, art installations, photography, literature, sculpture, exhibitions, performances, painting, film and material culture. This is essential reading for historians, cultural critics, art-historians, educationalists and museologists, in America as in Europe, and an important contribution to the understanding of the African diaspora, race, American and British history, heritage tourism, and transatlantic relations. Contributions include previously unpublished interview material with artists and practitioners, and a comprehensive review of the commemorative exhibitions of 2007. Illustrations include images from Louisiana, Maryland, and Virginia, many previously unpublished, in black and white, which challenge previous understandings of the aesthetics of slave representation. This book was published as a special issue of Slavery and Abolition.

In this collection distinguished American and European scholars, curators and artists discuss major issues concerning the representation and commemoration of slavery, as brought into sharp focus by the 2007 bicentennial of the abolition of the slave trade. Writers consider nineteenth and twentieth century American and European images of African Americans, art installations, photography, literature, sculpture, exhibitions, performances, painting, film and material culture. This is essential reading for historians, cultural critics, art-historians, educationalists and museologists, in America as in Europe, and an important contribution to the understanding of the African diaspora, race, American and British history, heritage tourism, and transatlantic relations. Contributions include previously unpublished interview material with artists and practitioners, and a comprehensive review of the commemorative exhibitions of 2007. Illustrations include images from Louisiana, Maryland, and Virginia, many previously unpublished, in black and white, which challenge previous understandings of the aesthetics of slave representation. This book was published as a special issue of Slavery and Abolition.

In exploring the world-wide upsurge of public art, this beautiful volume discusses and photographically illustrates significant examples of: public art sponsored by all levels of government - federal, state, county and city in the US and Canada, including the US's major programs across the nation supported by the National Endowment for the Arts and Canada's National Art Bank; the important progress made in the introduction of public art on US and Canadian universities and college campuses - including designs of civic center plazas, transportation facilities, and outdoor wall murals; significant works in the commercial and corporate sectors - including large regional shopping centers, banks and office buildings; recent developments in countries around the world, especially leading advances in France, Sweden, West Germany, Norway, Holland, Switzerland, and Denmark - featuring large plazas with sculptured forms, bright colors, and computerized configurations in fountain design kinetics, lighting, and graphics, as well as artists' efforts to create pleasurable environments by combining natural earth and man-made materials; interesting public art works from other countries - Australia, Belgium, Brazil, England, Finland, Greece, Ireland, Israel, Italy, New Zealand, Portugal, Spain, and Yugoslavia. An important section covers the practical aspects of commissioning the artist for public projects, including procedures used by corporations, developers, and individuals - with practical discussions of insurance by artists, comprehensive specification, competition and installation deadlines, and payment schedules.

Lafayette, Louisiana routinely makes larger-than-life headlines.The award-winning cuisine wins constant praise and earns top rankings in national publications. The city is home to several Grammy-winning musicians and its rich music scene is both diverse and evolving yet rooted in centuries-old tradition. Art of the People, explores Lafayette's famous culture from a different perspective . . . through its public art. For decades a number of renowned visual artists have found inspiration here and left their mark in a variety of ways. Sometimes hidden, sometimes hidden in plain view, Lafayette's public artwork makes a physical statement about the history of a people and their ever-alluring energy. From murals to sculpture to moving water, artists continue to blend re ections of the past into expressions of a future destined for constant enjoyment of life at its essence. Through vivid photos and rich back stories, Art of the People provides a visual tour of public art expressed by this town once dubbed the "Happiest City in America." It connects you with the unlikely mingling of cultures that created a perfect recipe of passion and camaraderie often referred to as "Joie de Vivre" (literally "Joy of Life"). It's a snapshot of an ongoing tale about cultures and inspiration mixed like no other -- in a city where people simply expect everyday life to be colorful, vibrant and fun.

By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art—from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art. Interviewees: Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko

Interviews with the artists who create public art and the people whose lives are changed by it.By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art―from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art.Interviewees : Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko