{"product_id":"a-companion-to-public-art-isbn-9781119190806","title":"A Companion to Public Art","description":"\u003cp\u003e\u003ci\u003eA Companion to Public Art\u003c\/i\u003e is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eEdited by two distinguished scholars with contributions from art historians, critics, curators, and art administrators, as well as artists themselves\u003c\/li\u003e \u003cli\u003eIncludes 19 essays in four sections: tradition, site, audience, and critical frameworks\u003c\/li\u003e \u003cli\u003eCovers 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\u003c\/li\u003e \u003cli\u003eContains “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.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eList of Illustrations x\u003c\/p\u003e \u003cp\u003eNotes on Contributors xii\u003c\/p\u003e \u003cp\u003eAcknowledgements xx\u003c\/p\u003e \u003cp\u003eA Companion to Public Art: Introduction 1\u003cbr\u003e\u003ci\u003eCher Krause Knight and Harriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Traditions 13\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 15\u003cbr\u003e\u003ci\u003eCher Krause Knight and Harriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArtists’ Philosophies\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eMemory Works 25\u003cbr\u003e\u003ci\u003eJulian Bonder\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003ePublic Art? 30\u003cbr\u003e\u003ci\u003eAntony Gormley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eNatural Phenomena as Public Monuments 34\u003cbr\u003e\u003ci\u003eAlan Sonfist\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e1 Memorializing the Holocaust 37\u003cbr\u003e\u003ci\u003eJames E. Young\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 Chilean Memorials to the Disappeared: Symbolic Reparations and Strategies of Resistance 51\u003cbr\u003e\u003ci\u003eMarisa Lerer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Modern Mural Painting in the United States: Shaping Spaces\/Shaping Publics 75\u003cbr\u003e\u003ci\u003eSally Webster and Sylvia Rhor\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 Locating History in Concrete and Bronze: Civic Monuments in Bamako, Mali 93\u003cbr\u003e\u003ci\u003eMary Jo Arnoldi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 The Conflation of Heroes and Victims: A New Memorial Paradigm 107\u003cbr\u003e\u003ci\u003eHarriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Site 119\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 121\u003cbr\u003e\u003ci\u003eCher Krause Knight and Harriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArtists’ Philosophies\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGive That Site Some Privacy 129\u003cbr\u003e\u003ci\u003eeteam (Hajoe Moderegger and Franziska Lamprecht)\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eThe Grandiose Artistic Vision of Caleb Neelon 135\u003cbr\u003e\u003ci\u003eCaleb Neelon\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Sculptural Showdowns: (Re)Siting and (Mis)Remembering in Chicago 139\u003cbr\u003e\u003ci\u003eEli Robb\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 In the Streets Where We Live 164\u003cbr\u003e\u003ci\u003eKate MacNeill\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Powerlands: Land Art as Retribution and Reclamation 176\u003cbr\u003e\u003ci\u003eErika Suderburg\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 Waterworks: Politics, Public Art, and the University Campus 191\u003cbr\u003e\u003ci\u003eGrant Kester\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 Augmented Realities: Digital Art in the Public Sphere 205\u003cbr\u003e\u003ci\u003eChristiane Paul\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Audience 227\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 229\u003cbr\u003e\u003ci\u003eCher Krause Knight and Harriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArtists’ Philosophies\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePractical Strategies: Framing Narratives for Public Pedagogies 239\u003cbr\u003e\u003ci\u003eSuzanne Lacy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003ePublic Art in a Post‐Public World: Complicity with Dark Matter 245\u003cbr\u003e\u003ci\u003eGregory Sholette\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Audiences Are People, Too: Social Art Practice as Lived Experience 251\u003cbr\u003e\u003ci\u003eMary Jane Jacob\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Contextualizing the Public in Social Practice Projects 268\u003cbr\u003e\u003ci\u003eJennifer McGregor and Renee Piechocki\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Art Administrators and Audiences 285\u003cbr\u003e\u003ci\u003eCharlotte Cohen and Wendy Feuer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 Poll the Jury: The Role of the Panelist in Public Art 296\u003cbr\u003e\u003ci\u003eMary M. Tinti\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Participatory Public Art Evaluation: Approaches to Researching Audience Response 310\u003cbr\u003e\u003ci\u003eKatherine Gressel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Frames 335\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 337\u003cbr\u003e\u003ci\u003eCher Krause Knight and Harriet F. Senie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArtists’ Philosophies\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Virtual Sphere Frame: Toward a New Ontology and Epistemology 347\u003cbr\u003e\u003ci\u003eJohn Craig Freeman\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eThe Elusive Frame: “Funny,” “Violent,” and “Sexy” 353\u003cbr\u003e\u003ci\u003eTatzu Nishi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 The Time Frame: Encounters with Ephemeral Public Art 359\u003cbr\u003e\u003ci\u003ePatricia C. Phillips\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 The Memory Frame: Set in Stone, a Dialogue 376\u003cbr\u003e\u003ci\u003eAmanda Douberley and Paul Druecke\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 The Patronage Frame: New York City’s Mayors and the Support of Public Art 386\u003cbr\u003e\u003ci\u003eMichele H. Bogart\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e19 The Process Frame: Vandalism, Removal, Re‐Siting, Destruction 403\u003cbr\u003e\u003ci\u003eErika Doss\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 The Marketing Frame: Online Corporate Communities and Artistic Intervention 422\u003cbr\u003e\u003ci\u003eJonathan Wallis\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 The Mass Media Frame: Pranking, Soap Operas, and Public Art 435\u003cbr\u003e\u003ci\u003eCher Krause Knight\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eEpilogue 457\u003cbr\u003e\u003ci\u003eCameron Cartiere\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex 465\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eCher Krause Knight\u003c\/b\u003e is Professor of Art History at Emerson College, USA. She is the author of \u003ci\u003ePower and Paradise in Walt Disney's World\u003c\/i\u003e (2014; paperback 2019); and \u003ci\u003ePublic Art: Theory, Practice and Populism\u003c\/i\u003e (Blackwell, 2008). With Harriet F. Senie she also co-edited and contributed to \u003ci\u003eMuseums and Public Art?\u003c\/i\u003e (2018). Together, Knight and Senie co-founded Public Art Dialogue, an international professional organization devoted to providing an interdisciplinary critical forum for the field. They also co-founded and co-edited the journal \u003ci\u003ePublic Art Dialogue,\u003c\/i\u003e the first peer-reviewed journal devoted specifically to public art. \u003c\/p\u003e\u003cp\u003e\u003cb\u003eHarriet F. Senie\u003c\/b\u003e is Professor of Art History and Director of the M.A. program in Art History and the Art Museum Studies track at City University, New York, USA. She also teaches at the CUNY Graduate Center. She is the author of \u003ci\u003eMemorials to Shattered Myths: Vietnam to 9\/11\u003c\/i\u003e (2015); \u003ci\u003eDangerous Precedent? The 'Tilted Arc' Controversy\u003c\/i\u003e (2001); and \u003ci\u003eContemporary Public Sculpture: Tradition, Transformation, and Controversy\u003c\/i\u003e (1992). With Cher Krause Knight she co-edited and contributed to \u003ci\u003eMuseums and Public Art?\u003c\/i\u003e (2018), and with Sally Webster, \u003ci\u003eCritical Issues in Public Art: Content, Context, and Controversy\u003c\/i\u003e (1992; revised edition 1998).   \u003c\/p\u003e\u003cp\u003e\u003cb\u003eA Companion to Public Art\u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Companion to Public Art\u003c\/i\u003e is the only scholarly volume to examine the main issues, theories, and practices of public art on a comprehensive scale. Edited by Cher Krause Knight and Harriet F. Senie, two distinguished scholars in this burgeoning field, it brings together established and emergent scholars ranging from art and architectural historians, critics, public art curators and art administrators, as well as artists. \u003c\/p\u003e\u003cp\u003eWith 19 essays in four sections—tradition, site, audience, and critical frameworks—the \u003ci\u003eCompanion\u003c\/i\u003e assesses public art as it is taught, thought about, and talked about within the field, and how it is conceived in the public and popular imagination. The essays discuss important topics including valorizing victims, public art in urban landscapes and on university campuses, the role of digital technologies, jury selection committees, time and memory, patronage, and the intersection of public art and mass media. In addition to perspectives from scholars and professionals in the discipline, it contains contributions by artists. These \"artist's philosophy\" essays 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. \u003c\/p\u003e\u003cp\u003eAuthoritative and indispensible, this guide is essential reading for anyone involved in the teaching, creating, commissioning, and contemplating of public art.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988614332645,"sku":"NP9781119190806","price":62.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119190806.jpg?v=1761780978","url":"https:\/\/k12savings.com\/products\/a-companion-to-public-art-isbn-9781119190806","provider":"K12savings","version":"1.0","type":"link"}