Artists are challenged to identify potential, maintain a vision, be retrieve and resourceful and be able to communicate to multiple parties. Artists have to consider their own skills in relation to how public and collaborative they can be. We need opportunities suited to many different kinds of artists. 2. After speaking to you before and hearing that a significant portion Of the funding allocated to public art works is designated for maintenance researched Merle Alderman Ukulele’s work, Which she describes as Maintenance Art, as well as other cultural theories surrounding the conservation of contemporary public art.
While Useless expresses her freedom Of declaring her various labors as artistic arrives, established art institutions question the “social. Political, and aesthetic factors that influence the conservation of public art”. (Phillips, 3). Think some of these ideas have particular relevance to your profession because they simultaneously examine the preservation of actual art-objects, while making direct connections between the labor of maintenance and social participation. Believe that art-related administrative duties can be a creative and cultural endeavor all their own.
Is this statement similar to your experience? What is it like to work for the sake Of public art in Vancouver? DO you/Wild you ever consider yourself as an artist? Don’t consider myself an artist, rather more like a curator in terms Of identifying and selecting opportunities to pursue. Communicating potential to artists, encouraging interest and promoting and rationalizing artists’ work. Putting together a good selection panel can be an art – with appropriate local representation, knowledge of the site, and art expertise and able to have a productive conversation.
Ideally there can also be some fun ways to engage with the public about artworks. The Park piece, a mobile artwork on Ontario, is an interesting case in public engagement that needs activities to keep the public aware and engaged. 3. To qualify for certain kinds of funding, public art projects in Vancouver must be part of the built environment – Have you ever been part of projects that push this perimeter? What about temporary built environments – do you think this is an area that could potentially lead to new forms of public art in Vancouver?
We have had projects that involved performance and media-based projects (on the Granville/ Ribbons screens and other sites) and a number of temporary projects such as Sign for the City. It remains a small proportion of the work we support because our funds come primarily from the cists capital budget. We have a vision for temporary built forms and are interested in activating particular key sites such as 800 Ribbons block and Hastings Park, but so far we don’t have large budgets to bring to this. Temporary projects are still subject to all the requirements for engineering, public safety, etc. So the investment Of time and money is still substantial. That said, an initiative such as the Fourth Plinth in London can be a really exciting one. Or being able to support local initiatives brought forward by artists, galleries, etc. May offer exciting temporary projects. 4. The combination of aesthetic relations and public art programs and have inspired several community-based creative projects in Vancouver, such as educational workshops, the opportunity for public collaboration, and arranging for other events, contests, publications, residencies, public conversations, etc…
Are there any other specific projects that you would like to mention? Do you think there is a benefit from these kinds of community-outreach cultural services? We have funded several projects in the DIES, including Intersection in 2008 and Bright Light in 2010. Both projects involved a consortium of art and local groups who produced temporary projects. Education and public engagement are important outreach activities, both in involving the public in creative activity and in educating about public art generally.
Certainly there is a enactment towards local engagement at this point. The conference last fall at CYCLE avgas part of that. Publications and interactive/online tours, etc. Also have lots of potential S. The 2008 City of Vancouver Policy Report for Culture defines access retaining to the location of civic/public art as such: “Art work must be located on development lands in areas Offering the public a free and unobstructed experience of the work, with preference given to areas providing the greatest opportunities for the public to experience and interaction.
Indoor areas are usually unsuitable, but in the event an indoor site is approved, the art work must Offer the public a free and uninhibited experience during normal business hours. ” (News, 9) Coming from a position in which you rely on concrete perimeters of physical logistics what do you think of Merle Alderman ukulele’s idea that a space becomes truly public when a sense of public ownership is felt by many individuals who come there and sense that, this place is for me; it is mine. ” (Useless, 13). ? There are always a number of factors that make a place an active public space, Artwork is part of that mix.
It may identify’ a place, it may create opportunities for engagement, temporarily or in the longer term. Artwork helps to identify and make public places unique. They are not all large gathering places. Think of the Monument for East Vancouver, PL_ or the Vancouver Convention Centre with its any artworks are places people identify through the artwork. 6. In one of the interviews featured in the book “Dialogues in Public Art”, contemporary artist Mel Chin refers to the “psychological threat” (Chin, 386) that public art has accumulated Last time we met you also mentioned that, “art is an easy target”.
What factors do you think contribute to people getting engaged (critically or otherwise) with public art in their communities? Given the opportunity, most people get engaged in the idea of public art for their cities and neighborhoods. During public consultations, we try to glean ideas for sites and hat people think is important. In specific instances, members of the public are asked to help define the parameters for potential art. ‘ark. Some projects Offer opportunities to get more directly involved through stories and imagery.
Others involve people in participatory performances ala Suzanne Lacy. The more people are aware that something is coming to their local area, whether they are directly involved or not, the more accommodating they seem to be. When an artwork appears with no forewarning, people often react. Sometimes this is a lot of work to defend the artwork, and sometimes it creates a good concussion and even some fun – for instance the person who tweets as the main street poodle.