2018 Seminar on Public Art & Ethics
Registered participants will be emailed a password to access all readings electronically at least two weeks prior to the seminar.
Public Art and Spatial Justice
- Robins, Alexander. “The Principles of Participatory Art.” Art Papers Magazine 40, no. 4 (2016): 12–16.
- Wilson, Risë. “Social Practice or Trojan Horse? The Need for an Ethical Framework to Guide Art in the Public Sphere.” Art & the Public Sphere 4, no. 1–2 (2015): 23–29.
Guest Speaker: Nina Elder
Nina Elder is an artist, adventurer, and arts administrator. She grew up in the Rocky Mountains of Colorado and New Mexico where she cultivated love for the land and curiosity about its use. After earning an MFA from the San Francisco Art Institute, Nina returned to northern New Mexico where she co-founded an off-the-grid artist residency program called PLAND: Practice Liberating Art through Necessary Dislocation followed by several years as the Residency Program Director at the Santa Fe Art Institute. Nina’s work is exhibited and collected nationally, and has been supported by the Andy Warhol Foundation, the Rauschenburg Foundation, and the Pollock Krasner Foundation.
Nina examines historic land use and its cycles of production, consumption, and waste. Mines, bombing ranges, and junk heaps are source material for her landscape paintings and representational drawings that explore the line between land and landscape, beauty and banality. She has backpacked into mines, travelled to Arctic Cold War military sites, and obtained government clearance to tour the Nevada Nuclear Test Site. She has drawn with radioactive charcoal, ore from mines, and dam silt. Her personal experience of research is reflected through performative, narrative presentations that are equal parts travel log, artist talk, personal story-sharing, and scientific inquiry, as well as a call for greater curiosity and engagement with the world.
Nina Elder is an artist-in-residence at the IUPUI Arts & Humanities Center in February 2018 as part of the City-State Residency program, a collaboration between the IAHI, Central State Mansion, Ignition Arts, iMOCA, People for Urban Progress, and PRINTtEXT.
Community Voices and Public Art
- Duncum, Paul. “Engaging Public Space: Art Education Pedagogies for Social Justice.” Equity & Excellence in Education 44, no. 3 (2011): 348–63.
- Graham, Janna. “‘A Strong Curatorial Vision for the Neighbourhood’: Countering the Diplomatic Condition of the Arts in Urban Neighbourhoods.” Art & the Public Sphere 6, no. 1/2 (2017): 33–49.
- Mejean, Suzanne. Noah Purifoy. Artbound, 2015. https://vimeo.com/143690043.
- Palermo, Luca. “The Role of Art in Urban Gentrification and Regeneration: Aesthetic, Social and Economic Developments.” Il Capitale Culturale Studies on the Value of Cultural Heritage 10 (2014): 521–45.
Making the City
- Buseman, Robyn, Thora Jacobson, and Cynthia Little. “Public Art and Exhibitions Made for a Social Purpose.” Museums & Social Issues 7, no. 2 (2012): 255–68.
- Capps, Kriston. “Your Entire City Is an Instagram Playground Now.” CityLab, December 29, 2017. https://www.citylab.com/design/2017/12/congrats-your-city-is-an-instagram-playground-now/549152/.
Gates, Theaster. How to Revive a Neighborhood: With Imagination, Beauty and Art, 2015. https://www.ted.com/talks/theaster_gates_how_to_revive_a_neighborhood_with_imagination_beauty_and_art.
- McLean, Heather E. “Cracks in the Creative City: The Contradictions of Community Arts Practice.” International Journal of Urban and Regional Research 38, no. 6 (2014): 2156–73.
Making Community Art
- “UNTITLED (FLAG 2), 2017 by Josephine Meckseper.” Creative Time. Accessed August 18, 2018.
- Cascone, Sarah. “Politicians Blasted Josephine Meckseper’s Stained American Flag as ‘Beyond Disrespectful.’ So a Kansas University Took It Down.” artnet News, July 12, 2018.
- Shaskevich, Helena. “Communal Cartographies: Examining ‘Notes for a People’s Atlas of Chicago.’” International Journal of the Arts in Society 6, no. 4 (2012): 59–75.
- Kwon, Miwon. “Sitings of Public Art: Integration versus Intervention.” In One Place after Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2004.
24 September 2018
Register at Eventbrite
Race and Public Art
- Bouie, Jamelle. “Why We Need the New Lynching Memorial.” Slate Magazine, May 1, 2018.
- Day, Kristen. “Public Art and the Promotion of Racial Equity.” In Building Bridges, Blurring Boundaries: The Milwaukee School in Environment-Behavior Studies, edited by Sherry Ahrentzen, Carole Després, and Brian Schermer, 1:133–54. Architecture Faculty Books. University of Wisconsin Miilwaukee, School of Arcitecture and Urban Planning, 2012.
- D’Souza, Aruna. “Who Speaks Freely?: Art, Race, and Protest.” The Paris Review, May 22, 2018.
- Félix, Doreen St. “How Alexandra Bell Is Disrupting Racism in Journalism [Video].” The New Yorker, May 29, 2018.
Myths, Violence, and Public Art
- Guggenheim Museum. Artist Profile: Marta Minujín on Demystifying the Statue of Liberty, 2017.
- Mahoney, Tara. “Art, Politics and Systemic Change: An Interview with Astra Taylor.” PUBLIC 28, no. 55 (June 2017): 40–46.
- Fryd, Vivien Green. “Suzanne Lacy’s Three Weeks in May: Feminist Activist Performance Art as ‘Expanded Public Pedagogy.’” NWSA Journal 19, no. 1 (2007): 23–38.
- Mitchell, W. J. T. “The Violence of Public Art: ‘Do the Right Thing.’” Critical Inquiry 16, no. 4 (1990): 880–99.