Catching up on the latest (September) issue of Public Art Dialogue 4(2), its first ‘open’ or unthemed issue, I see it includes a reprise of the story of Adrian Doyle’s Empty Nursery Blue art work in Melbourne (mentioned in my The Everyday Life of Public Art- Part 1) with Fiona Hillary and Shanti Sumartojo examining visitor interactions with and responses to the work.
Contents of the September issue include:
- Cher Krause Knight & Harriet F. Senie, ‘Editors’ Statement: Open Issue’, pp 173-174
- Gregory Sale, ‘Re-entry: an evening beyond black and white’, pp 175-183
- Sierra Rooney, “It’s Not About One Statue:” Fred Wilson’s E Pluribus Unum’, pp 184-200
- Fiona Hillary & Shanti Sumartojo, ‘Empty-Nursery Blue: On Atmosphere, Meaning and Methodology in Melbourne Street Art’, pp 201-220
- Zoe Bray, ‘Sculptures of Discord: Public Art and the Politics of Commemoration in the Basque Country’, pp 221-248
- Laura Holzman, ‘A Question of Stature: Restoring and Ignoring Rocky’, pp 249-265
- Jen Delos Reyes, Book Review: Diana Boros: Creative Rebellion for the Twenty-First Century: The Importance of Public and Interactive Art to Political Life in America, pp 266-267
- Rika Smith McNally, Book Review: Glenn Wharton: The Painted King: Art, Activism, and Authenticity in Hawai’i, pp 268-269
The journal Public Art Dialogue is sponsored by the organisation of the same name, here. PAD aims to provide platforms for dialogue across the wide range of professions and disciplines that public art encompasses. Its membership includes art historians, artists, curators, administrators, educators, architects and landscape architects.
Calls for submissions for forthcoming special issues of the journal include:
The Cinematic Turn
Submission Deadline: March 1, 2015
Co-Editors : Cher Krause Knight and Harriet F. Senie
With the rise of new technologies specifically relating to the moving image, the breadth of public art expanded as its practitioners engaged in more varied explorations, though it would be fair to say the migration of these technologies into public art was generally slower than their absorption into the museum and gallery. This issue focuses on the use of film, video and/or cinematic techniques and strategies, with the intention to recognize some of the earliest efforts to incorporate these art forms into public art practice as well as addressing their current manifestations.
The Dilemma of Public Art’s Permanence
Submission Deadline: September 1, 2015
Guest Editor: Erika Doss
The meaning of public art is neither inherent nor eternal but processual, dependent on various cultural and social relationships and subject to the volatile intangibles of multiple publics and their fluctuating interests and feelings. Consequently, public art that offends, contradicts, violates or challenges the beliefs of today’s publics may be defaced, despoiled, removed, re-sited, dismantled, destroyed and/or forgotten. What are the ethical and political implications of public art’s removal and destruction? Is it legitimate to erase or revise markers of history and culture? Do such acts constitute public dissent? Are there alternatives to public art’s defacement and destruction? This special issue invites articles, essays and artists’ projects that contextualize the dilemma of public art’s permanence, taking innovative approaches to the subject through focused case studies, comparative analyses, historicized investigations and theoretical arguments. Transnational perspectives are encouraged, as are proposals from public art practitioners, commissioners and curators.
Borders and Boundaries
Submission Deadline: March 1, 2016
Co-Editors: Cher Krause Knight and Harriet F. Senie
Borders and boundaries engage the notion of crossing: over geographical terrain, through social practices, across class systems, into different cultures, and around conceptual theories. Sometimes these delineations are clearly defined, but often they can become murky and potentially even richer. For this issue we seek various kinds of submissions that investigate how borders and boundaries of all types are signified–visually and otherwise–and understood, and how they function in relationship to public art. In particular, we are interested in examinations of how borders and boundaries may differ from each other, in both physical and metaphysical ways.
Submissions can include traditional scholarly articles, opinion pieces, ‘conversational dialogues’, and artists projects. Further information and submission guidelines are available here.