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Urban Art. Creating the Urban with Art was a conference at the Humboldt-Universität zu Berlin in 2016. The aim of the conference and this publication is to discuss "urban art" in its broadest sense: as an umbrella term, that encompasses a great variety of creative expressions in the urban environment on a global scale. The broad implications of the term "urban art" allow summarizing very different outcomes, styles, media, and techniques ranging from illegal graffiti writing to performative, participatory and architectonical interventions from stickers to legal murals and so forth. In this way urban art as a concept exceeds the common notion of commercial indoor street art and graffiti and enlarges the perception of the visual and unsanctioned forming of the public sphere. The 16 papers and 2 introductions from researchers of 10 different countries and disciplines are divided in five sections - 1) Public or Urban Art? On Terminology, 2) Digital Media & the Urban (Art), 3) Affect & Performance, 4) Territories and 5) Urban Imaginary & The City.
This volume investigates urbanity as a cultural form. The essays illustrate the real and imaginary ways that we interact with the cities through the portal of the arts.
This text formally appraises the innovative ways new media artists engage urban ecology. Highlighting the role of artists as agents of technological change, the work reviews new modes of seeing, representing and connecting within the urban setting. The book describes how technology can be exploited in order to create artworks that transcend the technology’s original purpose, thus expanding the language of environmental engagement whilst also demonstrating a clear understanding of the societal issues and values being addressed. Features: assesses how data from smart cities may be used to create artworks that can recast residents’ understanding of urban space; examines transformations of urban space through the reimagining of urban information; discusses the engagement of urban residents with street art, including collaborative community art projects and public digital media installations; presents perspectives from a diverse range of practicing artists, architects, urban planners and critical theorists.
Engagement in the City: How Arts and Culture Impact Development in Urban Areas provides readers with numerous examples of ways that the arts can contribute to community development. Through the diverse backgrounds of its contributing authors - representing artists, art educators, and public administration scholars – the role of arts is explored as a contributing factor in strengthening communities. The book shows that the arts have the potential to positively impact a wide variety of development interests, including economic, education, health, social capital, and of cultural. The book provides strategies and techniques for implementing successful arts-based projects, whether it be through public art initiatives, service-learning opportunities, or the development or cultural districts. Cross-sectoral collaboration is a key in many of these projects, making the book beneficial for artists and community leaders who seek ways to work together to improve their cities.
This book provides an up-to-date, critical review of theoretical concepts connecting artists and urban development. It focuses on the multidimensionality of potential and actually observed interactions between artists and cities and their impacts on urban space, its form, functions and perceptions. Departing from the viewpoint that a more nuanced geography of artists is still needed to fully conceptualise the diversity of roles artistic creatives play in urban transformations, the book presents contributions with a common denominator of distinguishing artists as a unique professional and social group. The essays focus on the complexity of the artists’ spatial preferences and analyse a myriad of expressions of artists’ presence in urban centres in different geographic, political, economic, social, and spatial contexts drawing on experiences from 16 cities across Europe. The book presents several case studies ranging from Spain to Russia and from Scandinavia to Slovenia, and offers new pathways into understanding the implications of artists’ residence and activities in contemporary cities. Apart from presenting less obvious expressions of artists’ involvement in urban transformations such as their participation in urban planning or grass root urban movements, the volume explores the ambivalence of artists’ interactions with cities. Particular chapters test several divergent narratives of artistic creatives as inspirers and instigators of urban changes, pioneers of gentrification, contesters and resisters of neoliberal urban policies or mere indicators of transformations inspired by other actors, instrumentalized by public and private stakeholders.
The essays collected in this book adopt different disciplinary approaches to point out the forms of citizens’ participation developed in the field of contemporary public art and urban design. From Sardinia to Queensland, New York to Bologna, Hasselt and Genk to L’Aquila, Rio de Janeiro to Utrecht, these essays analyze a variety of projects that deal with political confl icts of the societal life in the urban spaces, such as environmental risks and immigrant populations; propose diverse forms of citizens’ participation in the representations of marginalized interests, values, problems, and needs; offer to citizens and policy-makers new ways of thinking about territory renewal; and aim to reorient the decisions taken in the fi eld of institutionalized politics, either denouncing territory governance or supporting its improvement.
In this book, Eleonora Redaelli investigates the arts in American cities, providing insight into urban cultural policy discourse through the lens of space. By unpacking the ways in which scholars and policymakers account for geographic configuration and spatial relation, this monograph presents a unique approach to the arts and public policy. Redaelli analyses five main concepts of the international discourse in cultural policy — cultural planning, cultural mapping, creative industries, cultural districts and creative placemaking — highlighting how each of them contributes to the understanding of how the arts connect with place. Employing a selection of American cities as case, this book is an essential contribution to our understanding of cultural policy and its effects. It will be of interest to students and scholars of sociology, public policy, urban studies, arts management and cultural studies.
Why urban design is larger than architecture: the foundational qualities of urban design, examples and practitioners Urban design in practice is incremental, but architects imagine it as scaled-up architecture—large, ready-to-build pop-up cities. This paradox of urban design is rarely addressed; indeed, urban design as a discipline lacks a theoretical foundation. In The Largest Art, Brent Ryan argues that urban design encompasses more than architecture, and he provides a foundational theory of urban design beyond the architectural scale. In a “declaration of independence” for urban design, Ryan describes urban design as the largest of the building arts, with qualities of its own. Ryan distinguishes urban design from its sister arts by its pluralism: plural scale, ranging from an alleyway to a region; plural time, because it is deeply enmeshed in both history and the present; plural property, with many owners; plural agents, with many makers; and plural form, with a distributed quality that allows it to coexist with diverse elements of the city. Ryan looks at three well-known urban design projects through the lens of pluralism: a Brancusi sculptural ensemble in Romania, a Bronx housing project, and a formally and spatially diverse grouping of projects in Ljubljana, Slovenia. He revisits the thought of three plural urbanists working between 1960 and 1980: David Crane, Edmund Bacon, and Kevin Lynch. And he tells three design stories for the future, imaginary scenarios of plural urbanism in locations around the world. Ryan concludes his manifesto with three signal considerations urban designers must acknowledge: eternal change, inevitable incompletion, and flexible fidelity. Cities are ceaselessly active, perpetually changing. It is the urban designer's task to make art with aesthetic qualities that can survive perpetual change.
What can public art do for a community? How can city governments and others that create public art develop projects that build community and engage civil society? Creating Civic Engagement in Urban Public Art addresses these and other critical questions. It demonstrates how public art can build community unity, identity and cohesiveness. The focus of this original work is how cities engage their citizens through public art. What has been successful and what has failed? Through case studies of cities that have public art programs - some successful at citizen engagement others less so – the reader will learn how to design public art programs that build community.