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A high-traffic Pedestrian Street in Quebec City.

This is awesome. I want to share it all over the place. It's 3am and my explaining abilities leave much to be desired, but you should look at it! The end.

This is an invention made for a graffiti artist who was paralyzed for 7 years that I thought was pretty inspirational...

Site Specific,Place - based Heritage and Collective Memory

Preservation of Public Art

The only way art will be successful is if it gains the affection of the audience. In Crikshank and Corza’s “Public Education Policy”, the relationship between art and the surrounding public is explored. The keyword in this reading is “preservation” and preserving public art work all depends on the reception of the people. It is a simple formula: if the public loves the public art then the public art will be kept by the public and if the public does not like the public art then it will be criticized.

Another interesting theory that explained how artistic awareness can be increased and preserved in the community would be by educational means. This would create a larger scale of appreciation for art so that it will be incorporated within the community’s culture. This will also embed a sense of cultural expression for the youth because the best way to mold the youth is through early exposure and education.

Preservation is used to describe a mode in which a keeper maintains a certain thing within the physical realm but preservation in this reading’s context is about keeping the “connection” between art and people. If the connection or relationship is favored by the people and beneficial to the environment then its preservation will resemble.

Art as a Tool for Social Transformation

Art always sends a message. Art and politics have been related throughout history, from Pablo Picaso's Geurnica, lamenting an atrocity, to Norman Rockwell's Four Freedoms, defining the heart of American values. Portraits have been made to glorify leaders; even the Shepard Fairey's graphic depiction of President Obama is a modern example of art in politics. Graffiti can take many different forms and convey many different messages, but as a genre it is categorically renegade. Thus, no matter what message the art is trying to send, it is always colored by this anti-establishment tenor that springs from a sensed injustice and inequality pervasive in certain areas. I found it interesting that in the "Cool Jane" article it was noted that most people who appreciate graffiti's aesthetic value are upper or middle class. Is this because they are deaf to the frustrated voice that defines the genre, and can only see the formal elements of the graffiti? Jane Golden said that lower-income people, whose walls are usually the ones marked, are usually disheartened by the graffiti: "...people see graffiti as a symbol of hopelessness-- a manifestation of the forces threatening their survival. They have to worry about their kids getting shot, and the fact that quite literally every exterior surface is covered with graffiti is a reminder that the neighborhood is out of control....So, a three story waterfall is totally uplifting. It's a political statement." This quote really made it clear to my why it's necessary to limit graffiti. Murals as a political statement make sense. And, because of their accessibility and relative low cost, they can be made community-specific and be painted over easily if the community changes over time. Not only do the aesthetics of the murals themselves transform the space and make it more welcoming, but the process of painting the mural is perhaps more important. In the Cool Jane article, former graffiti artists become muralists: if amateurish, at least inspired. Kids who may not otherwise have had an opportunity for a paying job or positive influence were able to spend time doing something productive for their community. I found the Cool Jane article encouraging and am now convinced more than ever that public participation in art projects like murals is crucial for the community's morale. The Redevelopment Authority is a different story, and I think limited public involvement is necessary, as too many cooks can spoil the broth when it comes to Percent for Art programs that generally seem more monumental and permanent.

History by Kirby Gookin is one of my favorite articles so far this semester because it shares a lot of similar views with me like making art public to the mass by breaking out of the “white cube” dilemma. As Kirby described, “As museums did not traditionally exhibit the work of living artists, and most commercial galleries were unapproachably bourgeois and detached from the social realities of the world, young artists led the way in creating new and alternative means to the conventional art experience. Rejecting the neutral “white cube”, Conceptual artists like Joseph Kosuth and Lee Lozano began exploring ways to deflate art’s materiality and de-emphasize its commercial viability, while Adrian Piper took art outside into the streets and Robert Smithson pushed it into the landscape.” This “pushing” art into the outside arena is one of the major steps that art has taken compared to its beginnings. It makes art accessible to and for everyone while museums and exhibits give a sense of artistic hierarchy, which I despise.

Creative Time is a group that sponsored art events and festivals that pushed the efforts of public art and “enabled professional artists to test ideas and create new works for public exhibition in alternative spaces.” If I was a participating artist in that time and place, Creative Time would be an inspiration to me because it would prove that art awareness and availability are progressing. Not only did Creative Time create necessary avenues for artistic freedom but the works that they created were relevant to the surrounding times and environment. When Ney York had their rise in their art scene after the increase in its economy because of Reagan, Creative Time took in that political energy and produced a counter. Podium for Dissent (1985) was created by a group of artists that depicted Ronald Reagan on a fractured billboard sized portrait. This was a huge political punch the government but it proves how involved the artists of Creative Time are getting with their environments.

This article is a smoking gun of artistic freedom and its progression. I even enjoyed the layout of the article because even that was rebel like from most articles. I felt that rebellion was one of the personalities for Creative Time and the reason why they flourished at the time they were in. Artistic progression is a beautiful thing.

Philadelphia Art Tour by Racquel Forrester

Response Paper During the semester it has been a bit hard for me to contextualize some of the readings on Philadelphia case studies primarily because I had never been to the city. The Philadelphia Public Art Tour really brought to life all of the discussions we have been having in this class during the semester. Walking around and seeing works of art outside of big buildings made me realize how wonderful the percentage for arts act is. Even the front of the Suburban Transit storefront had art. It made the city lively and enjoyable to walk through. The Love Letter Series was definetly one of the most enjoyable pieces of the trip. The murals were done in ways that allowed the subjects of each piece to uplift its original West Philly surroundings; the messages displayed in each of them made the art place specific which we spoke about in class. The Love letter series demonstrated successful street art. The game piece sculptures located in the plaza of the government buildings looked amazing from afar. Seeing it in the pictures I took made me appreciate it way more than when I was actually there. The eroding metal and graffiti definitely took away from the aesthetics from the piece and so did the democracy sculpture that was there originally. The democracy sculpture, omitting its awkwardly placed neighboring piece, was one of the most captivating pieces that I saw last week. The material, the detail and the meaning behind the sculpture worked with the plaza and the builds that were there. Overall I thought the tour was a success; from riding the SEPTA, to having lunch in the busy terminal market, I was able to experience the culture on a city that I have never been to. I truly appreciate the opportunity.

I couldn't make up a more class-relevant news article!

A Love Letter for You and public art

It being my first time, I really enjoyed our class trip to Philadelphia. Riding the SEPTA and being able to see the "A Love Letter for You" series was really exciting. The last mural we saw which was labeled #1 of the series, sat at the between the urban and and more residential aspects of west Philadelphia. This clear division was really interesting because it sort of marked the end of a struggling urban area and the beginning of a green and more well to do area of Philadelphia. Does the public art have an influence on this? I think it does. The murals, connecting people of the community with the people traveling on the SEPTA, directly influence all who see them. Because of the series' multitude and time taken to make it and also the graffiti like influences of the works, each piece truly creates a personal connection that anyone can relate to. This is the foundation of forming a relationship with a community in an urban area and public art; being able to relate the art to multitudes of travelers and new people, while keeping the culture of the city it dwells within. The public art of the city, the works we saw at least, was underutilized. The difference between the art in front of the art school and that in front of a more corporate building is too significant and obvious. I got the feeling as though the Municipal Services Building had such a great space and therefore great potential. However the space and the "Your Move" pieces within it didn't enhance the space, but instead took away from it. I think that instead of creating a playful atmosphere, it did the opposite, making the plaza heavy and unattractive. The ability to interact with the pieces was a good jumping off point however; that is important in creating a public space.

- Alex

The Arts In Philadelphia

Murals and Community Art Projects play an important role in Philadelphia and the rejuvenation of inner-city life. In Anthony Smyrski’s film, (A Love Letter For You) The artist makes the effort to listen to the community, ask them honestly what they think about their communities, and what happens on a day to day basis. His work is meant to be a reflection of the community as a whole and the love from one person to all other people living within that space. Overall, it is a vision of the shared connections of existence within the city. His goal is to replenish and embrace city life with his Street Art. This is a shared goal of many street and mural artists.

Murals play an important role in the cultural connectivity of different places within the city. They allow for free expression of community values and ideas. Many artists grow up in the city and have vivid experiences within it's spaces. They also build tight connections with diverse groups of people living there. "The murals themes and symbols, even their aesthetic reflect the concerns and character of the communities which they are created." Murals can be expressive of history, diversity, social/ political/ economic change, nature, or human experience. Murals create artistic value within cities, and interesting landmarks for the community to gather around and celebrate. Mural artists inspire and promote interaction within the public, and show powerful messages through their art.

~ Emily Brady

Check Out Swoon's Street Art - Interacting with Communities

~ Emily Brady

Graffiti in Philadelphia

Because the history of graffiti in Philadelphia is so extensive, it has become a part of the culture and an everyday aspect of the scenery there. However, strides being made to lessen the amount of graffiti in the area has become increasingly effective because of murals. Ridding the city completely of graffiti would be almost impossible, but the incorporation of murals into the walls of the urban metropolis has substantially effected the community in a positive way. With the efforts made by Jane Golden and those like her, the city has become almost a canvas for art dealing with political, cultural, and communal statements relevant to the area. Though a lot of the murals are professionally done, the community is still extremely involved in the process. With organizations like the Anti-Graffiti one, people from the community can be a part of a process to help stop graffiti while also creating public art. I think that considering this and relating this to New Brunswick would be very helpful when facing the risk of graffiti. Because graffiti in New Brunswick is becoming increasingly more popular, the creation of new public spaces are at risk of vandalism. Though graffiti is an expression of art, it can also label an area as "unsafe" or gang affiliated. Combating this is a difficult challenge, but murals seem to do the trick. Because of the importance and love the community seems to have for the murals in Philadelphia, they have not been tagged or vandalized. I think that something similar would happen in New Brunswick. If a community sees a space as theirs, they will be less likely to damage it. Murals are a fantastic way of creating community and incorporating all backgrounds and beliefs in to one singular piece of public art. Philadelphia clearly does this well and Im excited to see the murals in person.

- Alex

How to choose public art

Suzanne's article about the criteria for art is public spaces is extremely relevant for our group's place and design proposal. Our original idea of having the "Brunswick Yard" and have a junk-yard feel to our space was not positively received and we have decided to go a whole different route. The area which we have chosen to essentially "make a place out of no place", is in an area that seems to beg for a visual and artistic presence. The art that we choose to put in this new place will hopefully be able to speak to both the families of immigrants living there and the college students that pass by there on a daily basis. Suzanne raises many questions: How should a theme fro a sculpture or fountain be identified, and how should an artist be selected? How should a public work of art be expected to contribute to city life and to the well-being of its inhabitants? Should we expect something more or different from art in a public space than from art in a private collection? I think that by answering all of these questions, our group will successfully be able to contribute to the area and the people living within it. Because of the mixture of culture within the area, it is crucial for us to not only make a substantial piece that accentuates the new place we are creating (whether this be a sculpture or fountain), but also have the piece be interactive and safe while maintaining a welcoming feeling and sturdiness. Public art should be able, "to communicate joy, delight, and wonder," says Suzanne, and I believe by focusing on that point, we will truly be able to bring color, excitement, and a sense of community to the space. I think one of the challenges that will be most difficult to over come will be in choosing our specific audience. We want to make our space playful and creative without literally placing a playground in the space. This would alienate the college students from entering our new space. But then how would we make the space feel inviting for children and families? Suzanne gives the example of using sculptures that are "intended to be crawled, climbed, or sat upon" because usually elicits a playful response without taking the maturity away from the space. Toying with ideas that have to deal with the future or different views of the present stimulate the imagination. Suzanne also gives advice on how to draw all types of people from community. Our group wanted to incorporate a sculpture or fountain and she states that these sorts of art pieces attract people first to "simply admire" them. If the area then becomes a well traveled place or a frequently visited place because of the art within it, it then can progress into a meeting place. This is exactly what we wish to accomplish- make a place out of no place. She also touches upon incorporating heritage into a space. Using metaphors or other types of representation to express heritage and culture from the community is a great way to initiate interests from multiple backgrounds. We want to make our space welcoming to everyone, and by following this advice to entice the community will hopefully make our new space flourish and eventually make it a trademark of the community.

- Alex

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