Sleepwalking from New York to Miami

In the winter of 2007, Doug Aitken’s moving image installation, sleepwalkers, was projected onto the exterior walls of the Museum of Modern Art in New York. The project was a collaboration between Aitken, the museum and Creative Time, a New York-based organisation that commissions public art projects. A site-specific version of the installation has been commissioned by the Miami Art Museum for the opening of its new facility, designed by Swiss architects Herzog and de Meuron, in 2013: “sleepwalkers (Miami) will expand the work’s landscape and characters in a manner that reflects the diverse social fabric of Miami.” This essay examines sleepwalkers as an example of the emerging form of film as public art. There are three strands to my argument: first, an examination of the role of film in the redefinition of public art, shifting away from spatial practices concerned with fixed and permanent notions of space, community and art and towards transient and experimental spatial and artistic practices; second,a discussion of the relationship between projection and the built environment and the ways that the qualities of luminescence, transparency, movement and connectivity are transferred from projected images to the surfaces on which they are projected and the spaces around them; and third, an examination of the ways that sleepwalkers uses only certain aspects of narrativity, those concerned with movement and change, and avoids hermeneutic absorption in order to keep the spectators moving (transposing the idea of sleepwalking from characters to spectators). Transience and transparency are key ideas in the conceptualisation of the work, and these are deployed with significant differences in relation to the distinctive characteristics of each city and each museum.

Palhaços: poética e política nas ruas: direito à cultura e à cidade

O presente trabalho analisou ações culturais em logradouros públicos do município do Rio de Janeiro, atualmente chamadas de Arte Pública, no contexto posterior a promulgação em junho de 2012 da Lei do Artista de Rua, que garante o uso livre do espaço urbano para as apresentações artísticas destes grupos e artistas e reconhece oficialmente estas manifestações. A partir deste quadro a pesquisa se propõe a refletir sobre as possíveis contradições entre a mediação cultural que acreditamos ser inerente a este segmento e a institucionalização decorrente desta lei. O estudo da mediação visou ainda pensar em outras formas de participação social no planejamento das políticas culturais. A investigação foi feita prioritariamente com palhaços profissionais que atuem nas ruas, praças, comunidades e outras áreas públicas do município.

O olhar do fotógrafo Luiz Fontana: documentação de ouro preto (1930-1960) - fotografia e arte pública : um estudo de caso

Pós-graduação em Artes - IA

A nova praça da Sé de São Paulo e suas esculturas

Pós-graduação em Artes - IA

Processo e produção visual do graffitti na cidade de Bauru/SP - Brasil: um estudo etnográfico

The graffiti is a calligraphic inscription or a drawn painted or engraved over a supported not normally used for this purpose. This artistic manifestation has been gaining more notoriety as an element of expression, reflection and actuation in the urban environment, since it is present in the streets and public ways reaching many observers with different repertoires and looks. This recent movement in Brazil has its first records in the early 80’s, but it is noteworthy that this event continues in an emergence process, consolidating increasingly as an artistic movement, in broad development, elaborating new technics, readjust and re-signifying its elements, re-improving and generating different values for the spaces. With the purpose to map the graffiti artists in Bauru/SP – Brazil, it was done an ethnography that allows to point some specific local characteristics; the relation between the artist and the city, and; the relation between the townsman and the graffiti.

Vírus mutante na paisagem de Bauru

This paper presents the work of the MutantVirus. A group which belongs to a subject extension called Public Art Projects in Bauru City from FaacUnesp. It exposes its designs, structures, approaches, procedures, results and reflections, as well as it discusses the point of a Public Art group being associated to the Public University.

The Third Campaign: Extracts

Why do public art commissions spark such controversy? The stories behind radical proposals for public sculptures in London – some realised, others thwarted – are drawn from the Henry Moore Institute’s rich collection of sculptors’ papers. Laurence Bradshaw’s (1899–1978) iconic Karl Marx memorial (1956) became an ideological site prompting both pilgrimage and attack. Jacob Epstein’s (1880–1959) explicit nudes for the British Medical Association became a battleground for Modernism and are the subject of a new work by Neal White. Other featured artists include Rose Finn-Kelcey, Alfred Frank Hardiman, Paul Neagu and Oscar Nemon whose drawings and documents reveal sculpture’s passage into public life. Curated by Yiakoumaki, N (Whitechapel Gallery) & La Fevre, L (Henry Moore Institute).

Aproximación a la arqueología pública desde las narrativas espaciales contextualizadas en el espacio urbano

El objetivo de este trabajo es analizar la narrativa espacial como género artístico, dentro del Arte en el espacio público y valorar su contextualización en la ciudad donde se ponen en evidencia huellas y restos, al mismo tiempo que queda vinculada a nuevas formas de Arqueología Pública implicando la participación ciudadana. Pretendemos establecer las bases teóricas de una propuesta artística de nuestra Tesis Doctoral, el álbum caminado. Partimos de la hipótesis de que la narración, relato textual o de imágenes ordenados con una relativa coherencia, situada en el espacio real, adquiere una nueva dimensión que extravasa el ámbito literario. De manera similar la excavación arqueológica y exhibición de los restos en el lugar al que pertenecieron formando parte del presente, se aparta del carácter lineal de la Historia. Las narrativas espaciales y distintas formas de Arqueología Pública muestran elementos comunes tales como ubicación en el espacio en el que se contextualizan implicando un desplazamiento in situ para participar de la obra o del resto arqueológico, su estructura narrativa multilineal y multitemporal y su temática social.

Estrategias museográficas actuales relacionadas con la museología crítica

Este artículo evita la mera disquisición teórica sobre museología crítica, sugiriendo en lugar de ello algunas pistas para calibrar su influencia en la praxis museal. Ante todo, se propone como emblemático de la museografía crítica el uso de interrogaciones en lugar de discursos asertivos; en segundo lugar, la sustitución de la impersonal autoridad institucional por prácticas participativas e interpretaciones compartidas, para dar idea de una variedad de opiniones, incluyendo las de gentes ajenas al museo; finalmente, es un rasgo distintivo el énfasis en la naturaleza subjetiva de los montajes museísticos, mostrando sus cambios a través de la historia, y señalando la autoría personal de las presentaciones y textos en el museo.

Mecánicas emocionales y proyectivas en las estrategias de activación patrimonial y museística

Las mecánicas patrimoniales se han basado tradicionalmente en factores racionales, marginando aquellos de carácter más emotivo o relacional. Además, en los últimos tiempos el sesgo economicista las ha obligado a buscar la rentabilidad y participar en el juego de la oferta y la demanda, con unos resultados muy poco esperanzadores. Cambiar ese estado de cosas pasa por cambiar radicalmente las estrategias puestas en marcha, basarse en la interlocución, conocer las relaciones entre el patrimonio y los colectivos sociales y, sobre todo, cambiar nuestra manera de pensar en el patrimonio.

Lake LaVerne Watershed Project Progress Report: Project Number 1415-007, Final Report, June 30, 2016

This application targets a critical need for low maintenance and inexpensive treatment solutions to encourage landowners and resource managers to enhance the water quality of small ponds and lakes. Many rural and urban small ponds and lakes across Iowa and the region have eutrophic conditions with high levels of nutrients and low levels of oxygen. Story SWCD teamed with Iowa State University (ISU) researchers propose to address this need through the construction and monitoring of a vegetated floating island (VFI) system on ISU's iconic Lake LaVerne. VFI's are hydroponically-vegetated islands that reduce nutrient loading directly from pond and lake water (rather than from soil adjacent to the pond). Urban watershed assessment on the ISU campus has already led to reductions in stormwater runoff to the lake but eutrophic conditions persist and are well documented. The VFI will function as a public art attraction for the entire 2015 growing season during which time monitoring will occur to quantify nitrogen, phosphorus and carbon changes in the lake. Tens of thousands of visitors to the ISU campus and Lake LaVerne will interact with this installation using promotional signage on site, public events and interactive social media throughout the project. Water quality and vegetation analysis will quantify nutrient uptake by the island vegetation and thus determine its effectiveness for use in other similar water bodies in Iowa.

Les états de transformation dans une installation à partir de la matrice-tableau

Ce mémoire propose de retracer un parcours sur l’expérience du processus, mes essais en productions et en diffusion. Développé en trois parties, il décrit d’abord mes premières impressions perceptuelles des oeuvres, ensuite les différentes étapes qui auront ponctué ma recherche-création. Attentive à ce qui se passe en dehors des ateliers et des centres de diffusion en arts visuels, mes écrits sont teintés de mes expériences de diffusion et de création dans les lieux urbains et même, dans le dernier mois, dans le paysage naturel. J’explore mes méthodes de recherche-création instinctive et les différentes facettes entre les thèmes de la tension et de l’abandon. Je m’intéresse à la perception de ces mondes, à leurs cohabitations, à ce qu’ils produisent dans l’oeuvre finale et même, à l’expérience de mon propre corps. Je traiterai également du médium vidéo et de la valeur de l’image en comparaison aux autres médiums exploités, un ensemble d’oeuvres qui matérialisent une certaine temporalité de l’image en mouvement, où l’expérience à vivre est celle de l’instant suspendu ou une vision renouvelée du temps qui passe.

Sanctum

Sanctum is a public art work by James Coupe and Juan Pampin. It uses the persistent flow of people around the Henry Art Gallery as input, extracting narratives from the demographics of passers-by and the patterns of their movement. The flow of people is used as a physical analogue to another type of crowd, the virtual inhabitants of social networks such as Facebook.

Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions are sometimes – if at all – explicitly communicated to a larger public. Studies into the practices of contemporary art conservation however show that practices behind the scenes play an important role in the perpetuation of these artworks. What happens behind the scenes in terms of conservation has, in several ways, important effects on the ongoing life of these artworks in a museum context. Conservation practices, I argue, should therefore become a necessary part of museum studies and history of art. How can the working practices of conservators become more visible and transparent to a diversity of audiences, including researchers? And what does this mean in terms of research methodology?