Description
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
CONTENTS
Introduction: A Short History of the United States’ “Official” Public Art
- Roosevelt’s New Deal
- General Services Administration’s Art-in Architecture Program
- National Endowment for the Arts’ Art-in-Public-Places Program
Conventional Wisdom: Populist Intentions within Established Paradigms
- Art as Monument, Art as Memorial
- Art as Amenity
- Art in the Park, Art as the Park
- Art as the Agora
- Art as Pilgrimage
Culture to Go: From Art World to The World
- What Museums Do for Us
- My Museum
- Education, Outreach, Programming
- The Alternative Museum/Alternatives to Museums
Not Quite “Art,” Not Quite “Public”: Lessons from the Private Sector
- The Art of Entertainment
- This is Special, I am Special
- Open Pocketbook, Open Agenda?
- Embracing Spectacle
Super Viewer: Increasing Individual Agency on the Public Art Front
- Power to the People
- Claiming Space and Place
- Dig In
Conclusion: Art for All?
- The Trouble with (Re)Development
- Nonprofits and the Ephemeral Idyll
- Back to School
- Grieving Loss, Remembering Life
- Two Tales in One City
196 pages, b&w ills / 15 x 23 cm / English
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