CFP for American Anthropological Association meeting, 2011 (Montreal, Canada)
Public Art / Art Publics (panel)
Taking the form of visual media, sculpture, architecture, performance/experience, graffiti, dance, film, mosaic, painting, text, or interventions in natural or man made landscapes, Public Art is generally planned and executed with the intention of being sited or staged in the public domain, usually outside and accessible to all (at least in theory). But while public art has been an integral feature of urban landscapes since the era of the ancient Greeks, the concept of Public Art is undergoing constant revision, as technological innovation, the social production of public space, and the idea/practice of the Public and the public sphere itself undergoes transformation and critique. Public Art, sanctioned or unsanctioned, permanent or fleeting, real or virtual, has the potential to express collective memory, reproduce narratives of identity or history, generate discussion, or disrupt the status quo. Used to promote political or social ideologies or to contest them, it can also be read as an index of underlying power currents. This panel will investigate the relationship of the aesthetic landscape to concepts of the Public by presenting critical examinations of Pubic Art as a refraction of ideology, the politics of space, and cultural categories.
How do state policy and activity, public art and the production of public(s) intersect?
How does Public Art interact with the production of place?
In what ways does Public Art refract political economy?
How are narratives of nation, community, history, class or aspiration produced or contested through spectacular aesthetics?
What can an examination of aesthetic policy, behavior, values or discipline reveal about cultural dynamics?
How does public expressive culture operate as a mirror image of commercial, museum practices, and how might this be nested in other cultural or economic domains?
Why is it important to pay attention to the visual landscape?
What methodological or theoretical strategies are best poised to investigate experiences of the aesthetic landscape?
What is the relationship between guerrilla street art or community works to state or museum funded projects?
How do issues of race, class, nationality, or otherwise play out in the production or experience of Public Art?
How are subjective invisible maps of place or publics impacted by participating as producer, supporter, consumer, curator, critic - in Public Art?
Please submit abstracts by April 2, 2011 to Susan Falls at firstname.lastname@example.org
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