Title: Beyond the Public Art Machine: A Critical Examination of Street Art as Public Art
Abstract: Click to increase image sizeClick to decrease image size Notes 1. Patrick Nguyen and Stuart Mackenzie (eds.), Beyond the Street: The 100 Leading Figures in Urban Art. Berlin: Gestalten, 2010, pp. 346–349. 2. Henri Lefebvre, The Production of Space. Oxford: Blackwell, 1991, p. 94. 3. The artists turned the space under Munkbron into a camping site and hosted a homely barbeque afternoon for their friends. Peter Baranowski and Akay, Urban Recreation. Årsta: Dokument Förlag, 2006, p. 149. 4. Patricia C. Phillips, »Out of Order: The Public Art Machine,« Artforum 27.4, 1988, p. 93. 5. Phillips, 1988, p. 96. 6. Phillips, 1988, p. 93. 7. Cher Krause Knight, Public Art. Theory, Practice and Populism. Oxford: Blackwell Publishing, 2008, p. ix. 8. Miwon Kwon, One Place after Another. Site-specific Art and Locational Identity. Cambridge: The MIT Press, 2002, p. 11. 9. Kwon, 2002, p. 26. 10. Kwon, 2002, p. 30. A more thorough discussion of Kwon's view on site specificity in relation to street art can be found in Peter Bengtsen, »Site Specificity and Street Art,« James Elkins et al. (eds.), Theorizing Visual Studies: Writing Through the Discipline. New York: Routledge, 2012, pp. 250–253. 11. As Krause Knight points out: »Writing in 1988, Patricia Phillips complained that public art lacked »clear definitions,« »constructive theory,« or »coherent objectives« (1988: 93). While the public art field has grown immensely in the last 20 years, such definitions, theory, and objectives still elude us; by emphasizing the function of populist sensibilities in public art, these come into sharper focus, particularly the objectives« – Krause Knight, 2008, p. 23. 12. »Mierle Laderman Ukeles,« Artslant.com. Online. Mar 31, 2012. 13. Phillips, 1988, p. 96. 14. Phillips, 1988, p. 95. 15. Phillips, 1988, p. 96. 16. The point that unsanctioned expressions should be seen as a significant part of public art is substantiated by a more recent text by Phillips in which she writes that public art »excludes no media, materials, or process. It can require years of planning, consultation, and approval to develop, or it can occur spontaneously and unsanctioned« – Patricia C. Phillips, »Dynamic Exchange: Public Art At This Time,« Public Art Review 21 (Fall/Winter 1999). http://www.forecastpublicart.org/anthology-downloads/phillips2.pdf. Online Dec 1, 2012. 17. Competition report from the project competition for H+ Imagine Helsingborg. Helsingborg: H+ Imagine Helsingborg, 2009. 18. Competition report H + , 2009, p. 109 19. Becker sees art as a product of a group effort with »an extensive division of labour« rather than the work of a single immediate producer (the individual we commonly refer to as »the artist«) – see Howard S. Becker, Art Worlds. Berkeley: University of California Press, 1982, p. 13. According to Becker, any given work of art is produced in a specific context (an art world) by »people who routinely participate in the making of art works« – Becker, 1982, p. 161. 20. See for instance »Banksy works set auction record«. BBC News (Oct 20, 2006). http://news.bbc.co.uk/2/hi/entertainment/6069384.stm. Online Dec 1, 2012 and »Banksy artwork sets new benchmark«. BBC News (Oct 26, 2006). http://news.bbc.co.uk/2/hi/entertainment/6087120.stm. Online Dec 1, 2012. 21. »Banksy's art show draws in 300.000,« BBC News. 31 Aug. 2009. http://news.bbc.co.uk/2/hi/uk_news/england/bristol/somerset/8230301.stm. Online Dec 1, 2012. 22. E.g. Cecilia Andersson, Rådjur och raketer: Gatukonst som estetisk produktion och kreativ praktik i det offentliga rummet. Stockholm: HLS Förlag, 2006; Julia Reinecke, Street-Art: Eine Subkultur zwischen Kunst und Kommerz. Bielefeld: Transcript Verlag, 2007; Ian Edwards, »Banksy's Graffiti: A Not-so-simple Case of Criminal Damage?,« The Journal of Criminal Law 73, 2009, pp. 345–361. 23. Jacob Kimvall, »Art in the Streets,« Konsthistorisk tidskrift/Journal of Art History 80.4, 2011, p. 254. 24. Marita Sturken & Lisa Cartwright, Practices of Looking. An Introduction to Visual Culture. New York: Oxford University Press, 2009, p. 60. 25. Phillips, 1999. 26. Phillips, 1999. 27. Matthew Collings, »Banksy's ideas have the value of a joke,« The Times Jan 28, 2008. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article3260064.ece (Online Aug 17, 2011). 28. This point is reiterated in the following response from the Q&A section of Banksy's website to those who claim that he expresses himself in a »crass, dumb and simplistic« manner in his work: »Well duh. They're right of course. Most of this stuff is designed to be viewed from a moving vehicle« – http://www.banksy.co.uk/QA/qaa.html. Online Dec 1, 2012. 29. Nicholas Alden Riggle, »Street Art: The Transfiguration of the Commonplaces,« The Journal of Aesthetics and Art Criticism 68, 2010a, p. 246. 30. Nicholas Alden Riggle, »Review of Street Art New York, by Rojo and Harrington,« rev. of Street Art New York, by Jaime Rojo and Steven P. Harrington. Hyperallergic.com. Jul 13, 2010b. http://hyperallergic.com/7933/street-art-ny-rojo-harrington/. Online Dec 1, 2012. 31. Jessica Sjöholm, »Skulptur, klotter och »motmonument«,« Conference paper, 2005. 32. For instance, the 2011 documentary film Vigilante Vigilante. The Battle for Expression by Max Good shows how people who are independently trying to remove graffiti and street art by painting it over may in fact be guilty of vandalism themselves. 33. Cedar Lewisohn, Street Art. The Graffiti Revolution. London: Tate Publishing 2008, p. 137. 34. Riggle, 2010a, p. 255. 35. Riggle, 2010a, p. 255. 36. Riggle, 2010a, p. 249.
Publication Year: 2013
Publication Date: 2013-06-01
Language: en
Type: article
Indexed In: ['crossref']
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Cited By Count: 21
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