And this blog post is devoted to astonishing and creative pieces of public art. Here you will see interactive towers, gigantic sculptures, surrealistic statues, painted houses, stone, rubber and wooden sculptured figures, original bus stops and even carpets made of flowers. You will visit the annual exhibition of modern and contemporary sculpture in the beautiful Chatsworth garden in Derbyshire, Bruno Art and Sculpture Garden in Australia and many other beautiful places that can boast of the matchless masterpieces.
On election night Sarah Kanouse will broadcast election coverage remixes recorded during the Unconvention in Minneapolis. That was one of the places Exchange Rate also had a project. And of course, election returns will be projected in the gallery. If you come, bring food, drink and a handheld radio from your emergency kit- which we obviously all have living in LA.
In truth, one can breeze right through the Guggenheim's "theanyspacewhatever" show (to Jan. 7). With few exceptions, pauses for thought will not interrupt your descent down the ramps. So it should take a very short line to match actual viewing time. But no such luck.
The Expanded City extends the concept of expanded media: The city becomes a metaphor for shared space for exchange and communication, expanding and diversifying through new technologies.
48 degrees is a massively ambitious project that examines the teetering ecology of Delhi through the prism of contemporary art interventions in public spaces, all within a rickshaw-ride of the centre of Delhi as a way of drawing its citizens into the debate about warming. The 25 artists exhibiting in eight public spaces include Anwar Kanwar, Andrej Zdravic, Ashok Sukumaran & Shaina Anand, Asim Waqif, Atul Bhalla, Chrysanne Stathacos, Ichi Ikeda, Haubitz + Zoche, Tomas Saraceno, Learning Site, Mary Miss and Desire Machine.
The 76,000-plus-square-foot mural will wrap around the eastern facade of the airport's new rental car garage, which is due to be completed next year. The piece's preliminary concept, which will be designed by German artist Christian Moeller, involves a high-resolution bitmap photograph that depicts waving human hands, gesturing welcome, farewell, hello and goodbye.
Is there an overarching philosophy that can connect projects from such diverse fields as architecture, graphic and product design? Or are we beyond such pronouncements? Should we even expect such grand narratives anymore?
Medien und Raum focused on the architectural integration of state of the art media technology. The two projects presented Concrete LED Facade by Angela Renz and Dominik Kommerell and Lochblech LED Fa/Bade by Ute Schweinle, Melek G/oler and Andrea Fackler are prototypes resulting from this studio. Both projects were conducted as scientific research projects where conditions and materials were tested and documented and the prototypes are a result of the research.
But Prospect 1 isn't the only public art game in town. The Arts Council of New Orleans has begun installing 21 "Art in Public Places" projects by New Orleans artists, paid for by a $750,000 post-Katrina grant from the Joan Mitchell Foundation, a New York art philanthropy. Let's hope they're all as fine as the first two.
Although on the outside this public art piece, designed by Arne Quinze, (and installed in the city of Brussels, Belgium,) may look like simple wood sticks joined together, there is much more depth.
Art Projects. This year Art Projects sector features eight public art projects by international artists. For the first time, most of Art Projects will be presented in a single site: Lummus Park, on Ocean Drive between 10th and 14th Street; one will be on view at Island Gardens, 888 MacArthur Causeway, Miami. Displayed in the public spaces of Miami Beach, the sector places art in the urban context and encourages participation by the general public. Most of the eight works are site-specific and commissioned for Art Basel Miami Beach – including works by Olaf Breuning, Cooper, Dora Garc/<>a, Thomas Houseago, Tadashi Kawamata, Jiri Kovanda and Ana Linnemann at Lummus Park. Occupying a huge site at Island Gardens, Ai Weiwei’s one 100 blue shimmering bubbles will be spread over an area of 600 square meters (6666 square feet).
Prospect 1 also hopes to raise local awareness of contemporary art, something difficult to do among a wary and skeptical public, said Mary Len Costa, director of the Arts Council of New Orleans. “The traditional way in which art is presented is in a museum, and sometimes people aren’t ready to go to a museum, Costa said. So that’s where public art comes in. We’re putting art in the public’s line of vision from one end of the city to the other, making it accessible so there will be some sort of reaction and dialogue that will come out of the art, even if they don’t understand it.”
This report comes to you courtesy of Julia Christensen, a 32-year-old artist whose book, "Big Box Reuse," is being published this month by MIT Press. Its news is that those who gaze at the big-box stores of Rockville Pike or Manassas and fail to see future cathedrals, museums or artists' communities have no sense of history. Or imagination. This lesson looms because we're going to have to figure out what to do with a whole lot of big boxes, and soon. There are thousands of them — vast prairies of Targets and Bed Bath & Beyonds and Costcos and Home Depots. Wal-Mart alone has 4,224 in the United States, more than half of them Supercenters into which, on average, you could comfortably fit four NFL football fields.
Let's talk about public art (Hans Ulrich Obrist + Olufar Eliasson). When you show in a gallery, you're quite concerned with what came before and what will follow in the gallery program because there's certain overlap in ideology. So if the shows before and after yours are nonsense, then your show takes on that agenda, whether you like it or not. The case is different with public art because, like architecture, it has been extensively compromised. But I see a great potential for art in public space because theres always the possibilit that people might not rrealize that it's art. It's as simple as that. People might enter a plaza and think a piece is something functional or something they don't understand, but it's there. And that intrigues me ,Aei the fact that such pieces are not immediately recognizable as art.
Minneapolis City Council approved $500,000 last January for the construction of 10 new public drinking fountains, each designed by different Minnesota artists. Invigorate the Common Well, a trilogy of performances being staged over a two-year period at In the Heart of the Beast Theatre (HOBT), inspired the project. Sandy Spieler, artistic director of HOBT, writes in a public letter that the show began as a meditation upon a broken drinking fountain in the lobby of the group’s Avalon Theater. It is a sad shrine, she writes, to widespread neglect of the value of water.
This is going to be one of the largest creations of public art in Minneapolis’s history, said Mark Hinds, executive director of the Lyndale Neighborhood Association, about the Walldogs mural project planned for this summer. It’s a different kind of public art ,Aei the use of volunteers, the style of it. We think the quality is top-notch.
In an article from Wired Magazine last week, political consultant Ralph Benko described the success of Obama's campaign as largely due to a "peer-to-peer, bottom-up, open source kind of ethos." Projects in your exhibition, such as Rebranding Acts by Wooloo Productions and I Approve This Message from the Unconvention, fall in line with that kind of practice.
Milwaukee's free art shelter is a project arranged by UWM students Jacob Flom and April Heding who anticipate showing the city that urban art thrives just as much as the work in galleries while questioning public art stereotypes.
An excerpt from a larger interview quoted on Tom Moody’s blog: Rosalind Krauss: I think most critics have about twenty years when they are out there on the barricades and have a kind of intuitive connection to new work. I no longer have an intuitive connection to very very new work, and I believe that it should be younger artists and younger critics who deal with that work.