A
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Adams,
Patch. "Hilarity, health care, and art." Communities (Journal
of Cooperative Living): "Celebrating Arts and Creativity in Community"
93 (Winter 1996): 38-40.Ariail, Kate Dobbs. "Is art good for you?
The arts-in-healthcare movement." High Performance 19.4 (1996):
11-14.
Ariail
examines the recent arts-in-healthcare movement which combines artistic
activity with traditional medical care as part of healing. Using the
Harlem Horizon Art Studio, a program organized by artist Bill Richards
at the Harlem Hospital Center, as an example, Ariail explores the
variety
of activities that fall under the heading of arts-in-healthcare, and
looks at the history of the movement since its inception in the 1970's.
Current issues in the field such as the role of physicians in art
therapy, how to treat patients with different needs, volunteer programs
versus paid, training, and evaluation of the programs, are discussed.
|
A
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Atkins,
Robert. "The art world and I go on line." Art in America
December (1995): 58-65+.
The
author explores how the World Wide Web has affected art galleries
and museums, many of which can now be accessed to some extent through
the Internet, and considers the question of how online technology
may affect the production of art. The article consists of a dated
account of Atkins' explorations into the online art world, where he
encounters virtual galleries, online art networks, bulletin boards,
chat rooms, and an electronic café.
|
A
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Atwood, Jane Evelyn. "Voyeurismes: histoire d'un engagement."
Photographies Magazine 81 (1996): 14-5.
American
documentary photographer Jane Evelyn Atwood describes her experiences
as a member of the Salvation Army in Paris, helping the homeless while
photographing them. She explains how difficult it was to complete
the project, particularly since her fellow volunteers criticized
her for profiting from the suffering of the homeless.
|
B
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"‘The Bag Lady': performance by Suzanne Lacy San Francisco,
November 1977." Block 7 (1982): 32-5.
Text
of Suzanne Lacy's performance, The Bag Lady, which was performed in
1977 in San Francisco, California.
|
B
|
Barber, B., and S. Guilbeaut. "Performance as social and cultural
intervention: interview with Adrian Piper; interview with Martha Rosler."
Parachute 24 (1981): 25-32.
This
article is composed of transcripts of two interviews with performance
artists. Adrian Piper discusses her views on politics and the role
of mass media, particularly in the Vancouver performance It's Just
Art. (1981) Martha Rosler discusses her attitude towards political
and cultural references in performance (specifically in the piece
Watchwords of the Eighties), her recent experience in Cuba, and her
interest in the Third World.
|
B
|
Bartlett, Mark. "Being there." Artweek 5 Nov. 1992:
15.
Describes
a project called the Campaign Against Domestic Violence, in which
artists created posters about domestic violence displaying a telephone
helpline for victims. Involving twelve San Francisco domestic violence
organizations, the campaign included the artists Barbara Kruger, Carrie
Mae Weems, Diane Tani, Susan Meiselas, Margaret Crane and Jon Winet.
|
B
|
Bergman, Miranda. "Big women." Public Art Review 6.2
(1995): 44-5.
This
article discusses the San Francisco mural Maestrapeace (1994), honouring
women who have become famous through their achievements. A
celebration of all women, the mural contains diverse themes and is
an example of what can be achieved through the cooperation of artists
and community. Bergman considers to what extent the mural can be considered
a feminist work.
|
B
|
Borsa, Joan. "Making space." Gallerie: Women's Art
Annual (1989): 4-11.
First
published as an essay in the catalogue for Making Space (1988), an
exhibition at Presentation House in Vancouver, this article examines
the feminist work of Suzanne Lacy, Susan McEachern, Frances Robson
and Honor Kever Rogers. While McEachern and Rogers examine women's
experience in the domestic realm, Lacy and Robson explore woman's
place in the traditionally male public realm.
|
B
|
Borum, Jenifer Penrose, and Roger Cardinal. "Reply defending the
art program for the homeless." Raw Vision 9 (1994): 52-3.
The
author writes in reply to an article by Roger Cardinal that criticizes
Tina White's Art Program for the Homeless. She responds to Cardinal's
assumptions about the program, such as his belief that it would establish
a
new category of marginalized art, that White expected to find a wealth
of talent among the homeless, and that the art produced would be homogenous.
Borum brings in the work of Rayvon Weaver, Pearline Cruz, Gerty Celestin
and Curtis Cuffie during her discussion. A response to the article
by Cardinal is included.
|
B
|
Breebart, Dick. "Donna Ferrato: Living with the Enemy." Focus
1 (1995): 35-42.
This
article focuses on the project Living with the Enemy by American photographer
Donna Ferrato, a series of photos taken in hospitals, women's shelters,
and police stations, documenting domestic violence. Published as a
book under the same title in 1991, many of the photographs were sold
to raise funds for the Domestic Abuse Awareness Project.
|
B
|
Brody, Rachel. "Becoming visible: an art therapy support group
for isolated low-income lesbians." Art Therapy 13.1 (1996):
20-30.
The
author analyses a support group for lesbians that was established
in a town in the North-Eastern United States where lesbians were not
publicly acknowledged. Discussing their respective histories and specific
experiences, the author describes how the group succeeded in giving
a sense of visibility to the lesbians who participated in it.
|
B
|
Brown, Anna. "Surviving: history and process." P-Form
38 (1995-1996): 16-19.
An interview
with American performance artist Lin Hixson, in which she reflects
on her life's work, her dedication to the field of performance art,
comments on issues such as the lack of funding for performance art,
and provides advice for students who wish to become performance artists.
In particular she mentions the impact of other artists such as Judy
Chicago, Suzanne Lacy, Moira Roth, Sherrie Gaulke, and Rachel Rosenthal.
|
B
|
Burnham, Linda Frye. "Power in practice. Notes on a new kind of
arts conference." High Performance 19.2 (1996): 24-25.
Burnham
describes the success of Philadelphia's Power in Practice conference
of 1996, which brought together artists, educators, and community
and school representatives to increase networking while discussing
issues faced by those working in the classroom and the
community. Instead of pre-organized panels and discussions, the conference
used a technique called "Open Space" in which the participants
form their own plans for discussion during the first meeting, and
were offered the use of dance and visual arts studios, and video and
audio equipment. The participants set out for each other workshops
on art education, fundraising, classroom techniques, and World Wide
Web communication, to name a few.
|
B
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Byers,
Julia Gentleman. "Children of the stones: art therapy interventions
in the West Bank." Art Therapy 13.4 (1996): 238-43.
The
author explores literature on the psychological effects of war on
children and the value of art therapy in helping them cope with the
stress of such an environment, including discussion of Post-Traumatic
Stress Disorder. The focus of the article is on efforts to create
mental health clinics in Gaza and the West Bank for those affected
by war, and those suffering under the stress of living in an area
where the threat of violence remains. The author gives examples of
programs implemented in the
region by the Near East Cultural and Education Foundation of Canada
and other organizations.
|
C
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Cardinal, Roger. "The art of the homeless." Raw Vision
8 (1993-1994): 43.
This
article is a review of an exhibition entitled Reaching Out - Art on
the Edge that was shown at the American Primitive Gallery and the
Leslie Howard Alternative Art Source in Manhattan in order to show
work by homeless people. The artists were given materials with which
to create art and promised half the proceeds of any sales upon exhibiting
their work. Cardinal criticizes the project for its assumption that
homelessness is a qualification for making art, and for linking art
with this social concern.
|
C
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Chapnick, Howard. "The Outtakes interview." Outtakes
8 (1994): 28-31.
American
photographer Donna Ferrato discusses in this interview how she became
absorbed by the documentation of domestic violence, the difficulties
she faced in publishing her early work, and her involvement with the
Domestic Abuse Awareness Project.
|
C
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Clark, James M. "Creating intersections of meaning." Public
Art Review 8.1 (1996): 10-13.
The
author discusses the value of temporary public art works and how they
are understood by multicultural populations such as that of the United
States. Focusing on how participation on the part of the public has
increased in such work, he highlights artists Jochen Gerz, Joseph
Beuys, Vito Acconci, Richard Long, Allan Kaprow, Judy Chicago, Felix
Gonzales-Torres, George Segal, Hachivi Edgar Heap of Birds, David
Schafer, and Jeffrey Cole.
|
C
|
Corrin, Lisa, and Gary Sangster. "Culture is action: action in
Chicago." Sculpture 13.2 (1994): 30-5.
Describing
a public art program started in 1992 in Chicago called Sculpture Chicago,
the authors examine projects by artists Kate Ericson, Mel Ziegler,
Simon Grennan, Christopher Sperandio, Suzanne Lacy, VinZula Kara,
Daniel J. Martinez, Inigo Manglano-Ovalle, Mark Dion, and Robert Peters,
with reference to the social sculpture of Joseph Beuys. Themes included
AIDS, race relations, and the environment, and media ranged from installation,
performance art, video, and sculpture, to candy bar design.
|
C
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Cronin,
Ray. "Sites of new tradition: temporary public art in Windsor."
Parallelogramme 17.3 (1991-92): 40-7.
The
author examines works that were a part of Windsor, Ontario's In Control
project (1991) organized by the Artcite group, in which mainly South-western
Ontario artists were invited to create art for billboards. Included
in the project were Michael Fernandes, Carole Condé, Karl Beveridge,
Jamelie Hassan, Ron Brenner, Christine Burchnall, and Christopher
McNamara.
|
D
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Danto, Arthur C., David Ross, Angela Mack, Nicholas Drake, and Mary
Jane Jacob. "Opinion: Places with a Past." Sculpture
10.6 (1991): 14-16.
This
article explores the reactions of those influential in the art world
to Places with a Past: New Site-Specific Art in Charleston that was
held in conjunction with the Spoleto Festival in Charleston, South
Carolina. Organized by Mary Jane Jacob, the exhibition was the U.S.'s
first show of
installation work that was commissioned for historic sites.
|
D
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Dinoff, Beth. "Camouflaged history." Art and Text 40
(1991): 35-7.
In this
article the exhibition Places with a Past: New Site-Specific Art in
Charleston that was held in conjunction with the Spoleto Festival
in Charleston, South Carolina, is examined. Curated by Mary Jane Jacob,
the show involved the work of over 20 internationally recognized artists,
whose work was selected on the belief that it would increase understanding
of Charleston's diverse history, illuminating issues of today by examining
the past. While the show incurred some very strong reactions, Dinoff
argues that this is partly why it was a success.
|
D
|
Drobnick, Jim. "Contesting urban spaces: an interview with Dennis
Adams." Parachute 68 (1992): 47-51.
In this
interview with Drobnick, Dennis Adams talks about his outdoor installation,
Reservoir, shown at the Montreal Museum of Contemporary Art. He discusses
the work in terms of its relation to Quebec's social and political
divisions, in particular those which led to the crisis at Oka.
|
D
|
Dubois, Jean. "D.O.G. spells G.O.D." Espace 28 (1994):
45-8.
Artist
Jean Dubois describes his work, D.O.G. s'affiche G.O.D. (1994), which
took the form of a poster displayed on a street corner in Montreal.
He discusses the themes of the poster and the public's reception.
|
D
|
Dumont,
Jean. "Cozic (Monic & Yvon): entre le signe et le signal."
Vie des Arts 134.33 (1989): 47-9.
The
author discusses the work of Monic and Yvon Cozic, whose sculptures
function as durable signs of everyday life, placing the artist in
daily life and in public, rendering art and artist more accessible.
|
F
|
Feaster, Felicia. "Art for Atlanta's Olympic Games." Public
Art Review 8.1 (1996): 32-3.
The
author describes public art works displayed at Atlanta's Olympic Games,
including work by Yukinori Yanagi, R. A. Miller, Tim Lewis, Burgess
Dulaney, Tony Cragg, Ralph Helmick, Kristin Jones, Andrew Ginzel,
and Betye Saar. Also noted are works on the theme of international
communications by Regina Frank, IRWIN, Yanagi, and Alfred Jaar, and
works about social communication by Ery Camara, Mauricio Dias and
Walter Rieweg, and Maurice O'Connell.
|
F
|
Fenz, Werner. "The monument is invisible, the sign visible."
October 48 (1989): 75-8.
Discussing
recent controversy concerning artistic intervention in public places,
the author concentrates on the exhibition "Points of Reference
38/88" held in Graz, Austria in 1988. In this exhibition invited
artists were asked to define their own work within specific contexts,
events and locations of the Nazi regime of the 1930's.
|
F
|
Ferrato, Donna. "Donna Ferrato's women: under the skin." Aperture
121 (1990): 36-41.
This
article publishes excerpts from two series of photographs of women
by Donna Ferrato, one about victims of domestic violence, the other
on liberated teenage students at Berkeley Highschool in California.
Included is a text by Ferrato describing the projects and the intimacy
she achieved by living with her photographic subjects.
|
F
|
Flanagan, Regina. "Public art and the media: part II." Public
Art Review 7.2 (1996): 34.
This
article presents a panel discussion that was held at the National
Assembly of State Arts Agencies conference in Providence, Rhode Island
in 1995. The panel explored the relationship between public art and
the media, pointing out that the media is valuable in communicating
artistic messages to a wide group of people, and promoting art to
the general public.
|
F
|
Fleury, Jean-Christian. "Olivier Pasquier: Serge, Denise, François..."
Photographies Magazine 65 (1995): 62-71.
The
author examines a project by French photographer Olivier Pasquier,
in which he photographed homeless people and exhibited the photographs
with poems written by the subjects. Pasquier's ability to restore
a sense of
identity and dignity to the homeless with whom he worked on the project
is discussed.
|
F
|
Flugge, Matthias. "Visionen und Vehikel: Krysztof Wodiczk. [Visions
and vehicles: Krysztof Wodiczko]." Neue Bildende Kunst 1
(1996): 48-53.
The
author interviews Polish artist Krysztof Wodiczko, who discusses some
of his public works in relation to his ambivalent feelings about Canada
and the United States, and his belief that the artist should help
to support the rights of minorities.
|
F
|
Folayan, Ayofemi. "La Boca: space to move." High Performance
17.2 (1994): 36-7.
This
article is a description of La Boca, an artists' performance and rehearsal
space in Los Angeles which offers free workshops and performances
for the homeless as part of the Sunshine Mission/Casa de las Rosas
program. Ongoing projects at La Boca are discussed.
|
F
|
Forest, Fred. "Fred Forest: animation-communication-art sociologique."
Opus International 55 (1975): 30-1.
The
artist Fred Forest discusses, with reference to a work carried out
with the cooperation of the readers of "Le Monde," the aim
of his work to compel viewers to participate in his art, transforming
them from passive consumers to active creators.
|
F
|
Foster, Hal. "Obscene, abject, traumatic." October
78 (1996): 106-24.
The
author discusses a concern in contemporary art with representing the
obscene and the abject, using the work of Cindy Sherman as an example.
Employing Lacan's theory of the gaze as a violent force, the author
views
contemporary art practice as it attacks the traditional role of art
as "pacifier" of the violent gaze.
|
F
|
French, Christopher. "Contemporary art's crisis of representation."
Journal of Art 2.1 (1989): 15.
In this
interview, the curator of the Museum of Contemporary Art in Los Angeles,
Mary Jane Jacob, discusses the exhibition A Forest of Signs: Art in
the Crisis of Representation, and her role as curator.
|
G
|
Gablik, Suzi. "Connective aesthetics." American Art
6.2 (1992): 2-7.
The
author explores the transition in the way the role of the artist in
society has been viewed, going from an independent and self-sufficient
art-making individual, to one who seeks a sense of community that
is disappearing in modern culture. Referring to work by Gary Glassman,
Jonathan Borofsky, Jim Hubbard, and Suzanne Lacy, Gablik demonstrates
how the modern artist uses socially responsible art works which involve
the audience as participants, in order to create art that is about
community
and not autonomy.
|
G
|
Gisinger, Arno. "Vom Ritual zur Kunst? [From ritual to art?]"
Eikon 14-15 (1995): 9-15.
Looking
historically at artistic approaches to the Holocaust, the author discusses
a wide range of artists, including the satire of Anselm Kiefer and
Wolfgang Flatz, the installations of Christian Boltanski, the public
projects of Jochen Gertz, the photographs of Lee Miller, and documentary
film makers Alain Resnais and Claude Lanzmann.
|
G
|
Goffaux, Catherine. "Editing et Metis." Photographies Magazine
55 (1994): 42-9.
The
author discusses two contemporary photography agencies, Editing and
Metis, that focus on photography as a means of representing life.
Using Jean-François Joly's images of the homeless as an example,
the author
points to Editing as attempting to achieve a more subjective mode
of representation. Metis aims to promote intimacy between photographer
and subject, thus critiquing mass information in the press.
|
G
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Goldman, Saundra. "Interview: Sally Jacques." Art Papers
17.6 (1993): 12-15.
The
author interviews artist Sally Jacques, whose work focuses on social
and political issues such as homelessness and poverty. As well as
discussing the effect on her work of a childhood spent in orphanages,
Jacques describes collaborating with other artists such as choreographer
Jose Antonio Bustamante and installation artist Janet Seibert.
|
G
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Graff, Terry. "Squatters public art project: a festival of visual
arts."
Arts Atlantic 11.4 (1992): 32-3.
Emphasizing
works by Erica Rutherford, Pamela Pike, Sandy Kowalik, and Libby Oughton,
the author praises Prince Edward Island's Squatters Public Art Project
(1992) for its accessability and its communication to the public on
feminist, folk art, and ecological themes.
|
G
|
---, and Serge Morin. "Making impact: public installations by artists
of Atlantic Canada." Arts Atlantic 12.2 (1993): 27-31.
Focusing
on works presented as part of Impact: Public Installations by Artists
of Atlantic Canada (1992) in Moncton, New Brunswick, the author discusses
the centralization of art in Canada, and the work of Atlantic
artists as disrupting to the power of the Centre. In particular he
examines works by Elaine Amyot, David Bobier, Hermengilde Chiasson,
Benoit Dugas, Alexandra Eaton, Thaddeus Holownia, Ginette Savoie,
and Kimberly Snider.
|
G
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Grande, John K. "Which public? Whose art?" Espace 29
(1994): 6-11.
Looking
in particular at work by Canadian artists, the author considers how
public art has addressed urban alienation by trying to promote a feeling
of urban community. He discusses work by Richard Serra, Louis Jobin,
Joseph Beuys, Raymond Mason, Michael Snow, Gilbert Boyer, James Carl,
Kathryn Walter, Agnes Denes, Doug Buis, Heather McGill and John Roloff.
|
G
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Gravel, Claire. "Art public et responsabilité sociale."
Espace 18
(1991-1992): 52-3.
The
author discusses a lack of interest in public art on the part of Canadians,
hypothesizing that it is due to artists working in the public realm
behaving as though they were still in a gallery context. As possible
solutions she suggests that public art should be more temporary, falling
into line with a media approach to the public.
|
G
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Graves, Donna, and Lydia Matthews. "Evacuations through community
history." Artweek 20 Aug. 1992: 4-5.
The
authors examine two public art projects, Map No. 33 by Hung Liu, and
the Lower Manhattan Sign Project by REPOhistory, a New York-based
group. Both projects question official history and examine the way
in which
American history is constructed, Liu's focusing on the historical
populating of San Francisco, and REPOhistory using text about the
contribution to American history of groups that are usually ignored
by that history, placing the text on street signs throughout New York.
Both projects affirm that history is an ongoing process continually
reshaped by additional contributions.
|
G
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Gray, Kate. "Niche: public installations, interventions and performances."
Espace 33 (1995): 21-4.
The
author discusses the work of 25 artists in a month-long programme
of artistic events in and around Guelph, Ontario, including installations,
interventions and performances. She describes how each artist had
to find
his or her "niche" within the city, both in terms of space
and in terms of art practice.
|
G
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Gude, Olivia. "Beyond monological monuments: the possibility of
heteroglossia in public space." Public Art Review 6.2 (1995):
40-1.
American
muralist Olivia Gude explores community art, expressing the belief
that it is only valid if it arises from a collective experience and
is a product of collaboration with the public. She discusses the mural
Where We Come From...Where We're Going (1992) as an example of a project
that was difficult because it arose from a multicultural environment,
and the project Echoes of the Heart, in which Southwest Chicago residents
expressed
themselves using banners.
|
G
|
Gustafson, Paula. "The Women's Monument Project." Espace
31 (1995): 19-21.
A discussion
of the controversy surrounding a project to create a public monument
in Vancouver, British Columbia, dedicated to women who have been murdered
by men. Designed by Beth Alber, the memorial would commemorate the
fourteen women who died in the Montreal massacre as well as others,
but controversy over the negative image of men the memorial would
create led to problems in fundraising. The author also considers the
impact of the monument's non-traditional design, and the implications
of its proposed location in an area considered dangerous for women.
|
H
|
Harris, Moira F. "They are gone: we remember." Public Art
Review 7.2 (1996): 26-7.
Discussing
the role of death in public art, the author notes that public memorials
to loved ones have spread in popularity from South America to North
America, citing objects left at the Vietnam Veterans Memorial in Washington
and flowers left at the sites of car accidents as examples of how
North Americans create public memorials.
|
H
|
Haus, Mary Ellen. "The bombs on the building walls." ARTnews
92.8 (1993): 154-7.
The
author describes the public projections and mechanized vehicles of
artist Krzysztof Wodiczko, discussing his concern with homelessness,
powerlessness, and government. In particular the projects Homeless
Vehicle (1988-89), Polisca (1991) and Alien Staff are examined.
|
H
|
Hofland, Alison. "Donna Ferrato: a compassionate eye probing domestic
violence." Photographer's Forum 14.2 (1992): 10-12+.
In this
interview with American photographer Donna Ferrato, the artist describes
how she became involved in the subject of domestic violence, and how
she succeeded over time in finding magazines that were willing to
publish her work. She explains how she finds her subjects and approaches
the task of photographing them, and the extent to which she has challenged
men on the subject.
|
H
|
Hollier, Denis. "When the city sleeps." October 64
(1993): 3-15.
In this
article, Polish artist Krzysztof Wodiczko is described as an artist
on the fringe who rejects the limitations of gallery space by projecting
onto gallery walls, turning the venue itself into the exhibition.
Using examples such as The Real Estate Projection and New York City
Tableaux, the author discusses how Wodiczko turns entire buildings
into art exhibits as part of an ongoing social commentary.
|
H
|
Houdart, Celia. "Minimalisme et guerilla douce." Verso
3 (1996): 14.
The
author discusses the work of Cuban artist Felix Gonzales-Torres, in
particular a show at the Musée d'Art Moderne de la Ville de
Paris that was arranged before the artist died of an AIDS-related
illness. His treatment
of the theme of death is considered, and his use of installation to
create an interaction with audience that denies the traditional view
of the artist as sole creator of an artwork.
|
K
|
Kastner, Jeffrey. "Art as a verb." Artists Newsletter
April (1995): 24-6.
This
article examines contemporary public art while considering the issue
of whether art is a finished product or a process. The author explains
that public art, because of its communal nature and its ability to
blur boundaries between artist and audience, has become a perfect
arena for considering such questions and uses the project Culture
in Action by Mary Jane Jacob as an example of how public art challenges
the norm.
|
K
|
Kelley, Caffyn. "Broken silence, visible wounds: Canadian artists
exposesocial space with contradictions intact." High Performance
18.1-2 (1995):48-53.
Canadian
artist Caffyn Kelley discusses how certain artists working in Canada
aim to change community by creating works highly visible to the public.
In particular the author looks at works by Carl Beam, Joanne Plourde,
Shaunah Beharry, Rebecca Belmore, Jean MacRae, Shaira Holman,
Lizard Jones, River Sui, Kathryn Walter, Freda Guttman, Sheila Spence,
Calvin Asmundson, Noreen Stevens (Average Good Looks), Otto Buj, and
Alanis Obomsawin. The subjects covered by their work include housing,
ecology, women's rights, lesbianism, urban development, homophobia,
and the Oka crisis. Jana Sterbak's meat dress is discussed as an example
of the gulf between the public and art, since the public failed to
see its implications and criticized it for being a waste of food.
|
K
|
Koelsch, Patrice Clark. "Contemporary quilts: The Crystal Quilt
- a
performance and its legacy." Gallerie: Women Artists 9 (1990):
24+.
Examining
the performance art of Suzanne Lacy, that author looks in particular
at her Whisper Minnesota Project, which explored the role of older
women in society. The Crystal Quilt was part of this larger performance,
and involved 420 older women in Minneapolis collaborating with the
artist.
|
L
|
Lacy, Suzanne. "Footnotes: a conversation continued." Gallerie:
Women Artists 9 (1990): 25-9.
Performance
artist Suzanne Lacy explores the topic of women and ageing, explaining
that women fear ageing because of the negative way elderly women are
portrayed in the media. Discussing how she explores these issues in
her work, she refers specifically to projects such as Three Weeks
in May, The Crystal Quilt (1987), Minneapolis Whisper, and The Wind
and the Waves.
|
L
|
---. "In the shadows: an analysis of Dark Madonna." WhiteWalls
25 (1990): 61-70.
Using
Melanie Klein's theory of art-making as the personality's attempt
to heal itself, Lacy analyzes her work, The Dark Madonna (1968), a
performance that took place at the Wight Gallery at the University
of California at Los Angeles. The work explored what the Black Madonna
has signified in different cultures within the context of the meanings
of black and white, dark and light in both racist and psychoanalytic
terms.
|
L
|
---."Love, cancer, memory: a few stories." Public Art Review
7.2 (1996): 5-13.
In part
reflecting on the "Public Art of Recollection" conference
held in San Jose, California in 1995, the author discusses controversy
surrounding public memorials in the United States, noting that many
memorials do not reflect immigrant or minority experiences, and that
many people feel only those involved in tragedies should be allowed
to create the memorials that remind us of them.
|
L
|
---. "Mapping the terrain: the new public art." Public
Art Review 5.1
(1993): 26-33.
Public
artist Suzanne Lacy discusses in this article a new public art that
is defined not by its location, but by its interaction with the public,
the artist's intentions, and its audience composition. She explores
the directions public art may take into the next century, looking
at the social
responsibility of artists , the audience as originating force, and
the roles of critics and curators. The article was part of a paper
given by Lacy at Mapping the Terrain: New Genre Public Art, a symposium
held at the San Francisco Museum of Modern Art in 1991.
|
L
|
---. "Speakeasy." New Art Examiner October (1982):
7+.
Performance
artist Suzanne Lacy looks back over her work in this article, describing
performances with large groups of women, organized by Lacy in San
Francisco, 1982, Ithaca, New York in 1981, and New Orleans, 1980.
She mentions working with Jeanne Nathan, Laverne Dunn, Betty Constant,
Mary Ann Guerra, Marilee Snedeker, Mary Helen Matlick, Marilyn Rivcin,
Nancy Bereano, and Carolyn Whitlow. In attempting to gauge the worth
of her performance work with women, she proposes three aspects that
must be considered: the quality of the experience for participants
and audience, the model the work provides for exploration of other
issues in different circumstances, and the lifespan of the processes
set in motion by the performance.
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Lajer-Burcharth, Ewa. "Urban disturbances." Art in America
75.11 (1987): 146-53.
Looking
at the work of Polish-born artist Krzysztof Wodiczko, the author discusses
his large-scale public projections in terms of their ability to expose
social space as a spectacle rather than commenting on social issues.
The author sees his work as being limited by its theatricality, yet
offering a new definition of public art.
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Lavery, John. "Artist as monument, artist as meal: Taras Polataiko."
NeWest Review 19.2 (1993-1994): 9-11.
The
author examines Ukrainian-Canadian artist Taras Polataiko's Artist
as a Politician: In the Shadow of a Monument (1992), in which Polataiko
bronzed himself like a statue in order to stand on a pedestal and
wordlessly
confront a memorial statue of Governor General Ray Hnatyshyn (of Ukrainian
origin) in Saskatoon, Saskatchewan. The performance, according to
the
author, successfully addressed issues of monumentalizing, identity,
and representation. He also considers Polataiko's Artist as a Meal
(in which the
artist was wheeled around on a trolley, naked except for a few pieces
of fruit, and offered as dessert to some
party-goers) as an example of how Polataiko effectively questions
the artist's role in society.
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Leblond, Jean-Claude. "Les séductions de l'été."
Vie des Arts 141.35
(1990): 56-63.
This
article describes activities taking place in Quebec during the summer
of 1990, including sculpture exhibitions in Montreal, Drummondville,
Saint-Jean-Port-Joli, Baie-Saint-Paul, and Trois-Rivières.
Leblond
considers the artists and venues as presenting a continuing quest
for quality work.
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Levinson, Drunell. "Mourning art: yesterday and today." Fibrearts
22 (1996): 17.
The
author examines the history of mourning art, beginning with embroidery
and samplers made by women to commemorate the death of George Washington,
leading up to recent memorials such as the Vietnam War Memorial and
Cleve Jones' AIDS Quilt project.
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Lind, Maria. "The artist as criminal." Index 2 (1995):
20-3+.
Discusses
the work of British artist Abigail Lane, particularly her use of body
prints in Blueprints, Conspiracy and Making History (1992), her use
of wax models in diorama-like scenes in The Incident Room (1993) and
Misfit (1994), and her exploration of criminal behaviour in Sausage
Pelt (1994) and Bloody Canvas (1994-95). In conclusion Lind points
out that Lane's art raises questions about the boundaries between
art and crime.
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Lippard, Lucy R. "Travel advisory." Whitewalls 37
(1996): 43-7.
The author
discusses how travel broadens an artist's horizons and can impact on
work that examines the relationship between places and people. She emphasizes
the work of Eleanor Martin, Martha Rosler and Suzanne Lacy, all of whom
have used postcards in their work, exploring themes of regionalism and
tourism.
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Lopez Rojo, Alfonso. "El sofista nomada [The wandering sophist]."
Lapis 89.10 (1992): 32-7.
As a
Pole living in New York, artist Krzysztof Wodiczko is considered by
the author as a nomadic artist, immersed in a different culture from
his own. Wodizcko's large-scale public projections are discussed with
an emphasis on their accessibility to all members of society, including
the homeless, because they are done in public spaces.
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Loubier, Patrice. "Du signe sauvage: notes sur l'intervention urbaine."
INTER 59 (1994): 32-3.
Using
Casual Passerby by Braco Dimitrijevic as an example, the author discusses
the "wild sign," a kind of artwork which is simply left
in a public place without authorship or explanation, and which thus
creates a
situation with no predetermined expectations as to its function or
people's reaction.
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Luini, Micaela Martegani. "Il luogo dell'oblio [The site of oblivion]."
D'Ars 138.34 (1992-1993): 42-4.
In this
article Tadashi Kawamata's installation project in New York entitled
Project on Roosevelt Island (1992) is discussed. The Japanese artist
reconstructed the remains of a former smallpox hospital, exploring
the marginalization of the sick in a way that reflected more recent
reaction to people with AIDS and other illnesses.
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Manglano-Ovalle, Inigo. "Does the public work?" Art Papers
16.5 (1992): 31-3.
Highlighting
a particular project in Chicago called Counter-Proposals: Adaptive
Approaches to a Built Environment (1991-92), the author discusses
the change of public art from a definition of public space to a contestation
of it. In Counter-Proposals the Randolph Street Gallery was
transformed into a workshop for the construction of shelters for the
homeless, an example of how the role of the artist in society is changing
into social producer.
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Matuschka. "Beauty out of damage." Center Quarterly
15.3 (1994): 30.
Photographer
Matuschka describes her experience of being diagnosed with breast
cancer, and her documentation, using photography, of both her
mastectomy and her body following surgery. Part of rebuilding her
self-image after her operation was to publish photos of herself after
the surgery in national newspapers and magazines.
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McLeod, Michael. "Rx: a dose of creativity. Arts in medicine
puts a
hospital on the map." High Performance Winter (1996): 16-19.
The
author tells the story of Dr. John Graham-Pole, a man frustrated by
twenty years of treating children with cancer at Shands Hospital in
Gainesville, Florida, who sought alternative means of medicine. Exploring
the strong relationship between the mind and the body during the healing
process, he recruited a dancer, a painter, a writer, a sculptor, two
guitarists and a shaman to help his patients express their feelings
about illness through artistic activity, creating the Shands' Arts
in Medicine
program. In the article Graham-Pole and several participants in the
program, Lee Ann Stacpoole, Jan Swanson, Jill Sonke and Tina Mullen,
describe the challenges they have faced in working on the project
and the ways it has benefitted the patients and themselves.
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Melrod, George. "The xenologist." World Art 3 (1996):
48-51.
The
author discusses the public art projects of Polish artist Krysztof
Wodiczko, an immigrant to the United States, examining the ongoing
theme of social criticism that includes works about homelessness and
immigration.
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Mifflin, M. "From a whisper to a shout: Suzanne Lacy talks about
art as a network for women's voices." High Performance 7.2
(1984): 38-41.
Transcript
of an interview with performance artist Suzanne Lacy, in which she
discusses her parallel interests in art and feminism, focusing on
her work at the Woman's Building in Los Angeles, a centre for the
expression of
women's issues in art. She explains her filmed performance Whisper,
The Waves, The Wind, which is illustrated in the article with photographs
and quotations.
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Mitchell, W. J. T. "The violence of public art: Do the Right Thing."
Views 12.4-13.1 (1992): 8-12.
Mitchell
examines the relationship between public art and violence, trying
to determine whether public art is inherently violent or a provocation
to violence. Comparing pubic art to the cinema, he uses Spike Lee's
Do The Right Thing as an example, concluding that public art should
acknowledge the contradictions and violence it contains.
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Muchnic, Suzanne. "Jill d'Agnenica: army of angels." ARTnews
94.3 (1995): 106-7.
Describing
the latest project by Los Angeles artist Jill d'Agnenica, this article
details her creation of 4,687 magenta angles which she placed around
the city of Los Angeles as a response to the violence of 1992 that
followed the Rodney King trial. Muchnic contextualizes the project
in terms of d'Agnenica's previous work, which also revolved around
creating a sense of community.
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Murray, Timothy. "Television fears and warrior myths: Mary Kelly
meets Dawn Dedaux." Camera Obscura— A Journal of Feminism
and Film Theory 32 (1993): 145+.
Murray
discusses a video installation by Dawn Dedeaux, in which imprisoned
black mothers and male gang members are shown on tape, and the viewer
is also documented on video as s/he experiences the installation.
The installation, called Soul Shadows, explores the myth of the "black
urban warrior" and the socioeconomic issues surrounding this
myth.
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Nabakowski, G., and P. Kipphoff. "Pro und Contra ‘Frauenkunst'
Gibt es Die? [Pro and contra: does ‘Women's Art' exist?]"
Art: Das Kunstmagazin 2 (1982): 68-71.
Nabakowski
argues that "women's art" can only be identified in the
twentieth century, citing Suzanne Lacy and Leslie Labowitz as artists
who have adapted traditional symbols of female domesticity and sexuality
to suit their needs. Kipphoff believes that motives behind exhibitions
such as the 1981 Bonn Typical Woman show will lead to artistic ghettoization
of women. She argues that great art by women comments more on their
time than on their sex, even though gender is usually a primary concern
in their work.
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Nadaner, D. "Intervention and irony." Vanguard 13.7
(1984): 13-14.
The
author discusses ideological imagery put forth by the dominant culture
in society, and the artist as one who intervenes between this imagery
and the spectator. While considering this role as valid, the author
also sees it as negating other forms of art and encourages artists
to find a middle ground between intervention and negation, using the
critic Peter Fuller as an aid.
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Noble, Richard. "Space intruders: The Regina Billboard Project."
Border Crossings 9.1 (1990): 47-50.
Organized
by Leesa Streifler, The Regina Billboard Project (1989) involved several
artists creating billboards to be shown around the city, in an attempt
to bring art out of the gallery and into public space. The artists
included were Leesa Streifler, Alan Brandoli, Dennis Evans, Raymond
Ho,
Jack Anderson, Rae Staseson, Erik Norbraten, and Antoinette Herivel.
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Novakov, Anna. "Public penetration: text, gender, and urban space."
Public Art Review 6.2 (1995): 20-1.
The
author describes the project Messages to the Public, presented in
Times Square, New York City, between 1982 and 1990. The project involved
artists creating their own text advertisements to accompany commercial
advertisements in the area, blurring the line between images of advertising
and those of the art world. Novakov explores how many social issues
were addressed by these signs, and places them in a historical context
by referring to the work of Joseph Kosuth and the Guerilla Girls.
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Pacheco, Patrick. "Site: Arman." Sculpture 15.3 (1996):
10-11.
Pacheco
discusses the public sculpture by Arman, Hope for Peace, (1976-95)
a 100-foot tower of concrete, old tanks and armoured vehicles that
is located in Beirut and commemorates the fragile peace of the Middle
East.
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Pallant, Cheryl. "Expose, Express, Exchange: hope into action."
High
Performance 17.3 (1994): 56-7.
This
article describes a performance event called Expose, Express, Exchange
which took place in Richmond, Virginia, and included artists such
as the Steve's House Collective, Bio Ritmo, Ezibu Muntu, Cathy Paine,
Mary Sue Carroll, Kevyn Burn and Mark Zemelman. The aim of the project
was to increase awareness of the rifts in society that cause isolation
and lead to destructive behaviour, and the works focused on themes
like domestic violence, safe sex, and healing.
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Pasternak, Anne, and Tibor Kalman. "Public private." Bomb
56 (1996): 48-55.
Gives
examples of public art curated by Anne Pasternak, including work by
Corky Lee, Peggy Diggs, Christian Boltanski, David Hammons, Jenny
Holzer, Daniel Martinez, Felix Gonzales-Torres, Mierle Landerman,
Vito Acconci, Jeff Koons, and Marsland-Ovalle. Pasternak is director
of Creative Time, an organization that develops temporary public art
projects.
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Peacock, Mary Ellen. "A personal construct approach to art therapy
in the treatment of post sexual abuse trauma." American Journal
of Art Therapy 29.4 (1991): 100-9.
Using
the case study of a woman suffering from post sexual abuse trauma
as an example, the author discusses the use of personal construct
psychology
and art therapy in the treatment of such trauma, reporting an increased
awareness and expression of feelings, and the alleviation of anxiety
and low self-esteem.
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Phillips, Patricia C. "The private is public. Peggy Diggs and the
system." Public Art Review 5.2 (1994): 16-17.
Phillips
explores how artist Peggy Diggs has taken private stories and made
them public, questioning the boundaries between personal and public
space. In particular she examines Diggs' Domestic Violence Milk Carton
Project
(1992), in which she worked with dairy distributors to print images
representing domestic violence onto milk cartons, that they might
be distributed to people's homes. Phillips also looks at work Diggs
had done on public art projects with high school students in northwestern
Massachusetts.
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---.
"Temporality and public art." Art Journal 48.4 (1989):
331-5.
The
author discusses two organizations in terms of their production and
promotion of contemporary art, Creative Time Inc. and The Public Art
Fund Inc. Both companies support public art that is temporal because
of its impermanence and ability to provoke thought, even though this
goes against the public expectation of such art that it be stable
and permanent.
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"Politics, not art." European Photography 13.3 (1992):
36-8.
The
author describes a controversial exhibition by Columbian artist Becky
Meyer, which was displayed at the 1992 Houston Photofest. Meyer's
show consisted of ten portraits of victims of violence, text, and
a book in which viewers could record their reactions to the work.
Includes quotes from the text and the book of comments.
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Posner, Richard. "Hope Diamond." High Performance 16.2
(1993): 26-9.
American
artist Richard Posner discusses his public work Hope Diamond, a softball
diamond using the palindrome LIVENOTONEVIL within the ring. A response
to the 1992 Los Angeles riots, the work grew out of Posner's own experiences
with race-related violence as he grew up in Los Angeles.
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Public Access. "Public imaginary." Parachute 48 (1987):
21-5.
Public
Access, a group of artists and writers who investigate the relationship
between art and its constituencies, gives an introduction in this
article to its book, Some Uncertain Signs. The group discusses the
historical relationship between art and the public, and puts forward
the belief that artistic communities are constructed within specific
historical contexts and are not therefore realities in themselves.
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Ramljak, Suzanne. "Mary Jane Jacob." Sculpture 11.3
(1992): 20-2.
In this
interview, artist and independent curator Mary Jane Jacob discusses
her views on the assumptions many make about public art, and how she
has become involved in site-specific projects such as her recent Culture
in Action. The Culture in Action project aims to integrate the work
of 10 artists throughout the city of Chicago.
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Raven, Arlene. "Commemoration. Public sculpture and performance."
High Performance 30 (1985): 36-40+.
Discussing
public monuments such as the New York Veterans Memorial wall, and
the Vietnam Memorial in Washington, D.C., the author juxtaposes their
permanence with public demonstrations and events such as theater,
pageants and performance art that seek to commemorate past events.
In particular she discusses performance work by Richard Longo and
Suzanne Lacy, arguing that the force of ritual created by art performances,
parades, and festivals is a necessary addition to the significance
of public monuments as symbols.
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Riley, Shirley. "An art psychotherapy stress reduction group: for
therapists dealing with a severely abused client population." Arts
in
Psychotherapy 23.5 (1996): 407-15.
Citing
examples from group therapy sessions, the author points out the importance
for art therapists who suffer residual trauma from treating abused
patients to use art and/or group sessions as a means of therapy for
themselves.
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Robertson, Lisa. "Benched art: negotiating the rhetorics of
taste."
Parallelogramme 20.3 (1994-1995): 26-34.
In this
article the Benchmarks public art project, organized in Vancouver
by the Association for Noncommercial Culture, is discussed. The project
involved displaying the work of several artists on the advertising
spaces of five public benches. Looking at the work of Melinda Mollineaux,
Leila Armstrong, Ana Chang, Henry Tsang and Eric Bontogon, the author
focuses in particular on a work by Larissa Lai, depicting a wedding
shop and a pornography shop next to one another, which was censored.
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Ross-Bryant, Lynn. "Imagination and the re-valorization of the
feminine." JAAR Thematic Studies 48.2 (1981): 105-117.
Ross-Bryant
observes that Western religion and culture has historically devalued
women in the context of its patriarchal values, and proposes a new
way of seeing that is polycentric, assigning value to many changing
groups
and centres instead of placing one centre in a position of superiority
over all others. She traces the devaluation of women from the Biblical
myth of creation, pointing out how this dichotomy of man/woman has
led to a polarized way of thinking, and goes on to use some women
artists and
writers as examples of how women's autobiography disrupts this polarization
and affirms community rather than individualism.
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Rosser, Phyllis. "Making trouble. A gathering in Aspen explores
public art and its potential to raise consciousness and challenge public
policy." High Performance 17.4 (1994): 18-21.
Rosser
describes attending a conference in Aspen, Colorado called Art into
Action: Public Art for People, taking a workshop with artist Mel Chin
because he was notorious for knowing how to "make trouble"
with art. Chin organized four public art projects for his class: selling
t-shirts that joked about the O.J. Simpson case to raise money for
a battered women's shelter, the distribution on car windshields of
a questionnaire about race, class, and sexual preference (which looked
like a ticket), selling junk
from the town dump as "artifacts" at the Aspen Art Museum's
outdoor fair, and placing an ad in the local newspaper advertising
"fabulous real estate" in Rwanda. The article also mentions
the work by Suzanne Lacy, Wendy Ewald, Lauren Marks, Rachel Rosenthal,
and Topher Delaney.
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Rottmann, Karin. "Uberleben in der Stadt [Surviving in the city]."
Kunst+Unterricht 205 (1996): 39-41.
The
author examines the reaction of primary students in Germany to Krysztof
Wodiczko's work, "Homeless Vehicle," noting their comments
on how the artist works to raise awareness of a social problem. She
also discusses similar work by Duane Hanson and Andreas Slominski,
two other artists who question certain aspects of Western society.
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Royoux, Jean-Christophe. "New digressions of the stranger."
Creative Camera 323 (1993): 38-41.
In this
interview with Polish artist Krzysztof Wodiczko, the artist discusses
his intervention in the public arena through large scale projections
and several projects involving the homeless. He also reflects on the
role of the artist in society and how he has taken on a political
role in his own art.
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Sacca, Elizabeth J. "Artists' reflections on their students' sex
stereotypes: reconciling women's personal identity and conventions in
art." Resources for Feminist Research/Documentation sur la recherche
féministe 16.4 (n.d.): 21-24.
In order
to examine the conflict between the limited images of women in mass
media and the diversity of self-images women are now creating, the
author has asked some Montreal art educators to describe their students'
sex stereotypes in art. Issues raised included how the students depict
the nude female, the connection between their nude imagery and pornography,
the relationship between their video work and music videos, debasing
images, the use of humour and exaggeration, and homosexual imagery.
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---. "From curiosity to vision." SchoolArts November
(1996): 14.
This
article uses the viewpoints of three artists, James Luna, Paul Kagawa,
and Jolene Rickard, to examine the resistence of being labeled as
"other" by art institutions. In particular Luna's performance
work, The Artifact
Piece (1990), in which he puts himself on display in a glass case
as part of an aboriginal exhibit at the San Diego Museum of Man, is
mentioned.
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Saganash, Ella. "Sweatlodge -- getting to the bottom of the barrel:
interview with Diane Reid." Healing Politics — Violence,
Culture and
Alternative Health. Special Issue of the Institut Simone de Beauvoir
Institute — Review/Revue 17 (n.d.): 197-214.
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Savage, Jon. "Vital signs." Artforum 32.7 (1994):
60-3.
The
author describes a project by artist Gillian Wearing in which she
asked people in the streets of London to write their thoughts on a
card and then be photographed holding the card, and discusses the
various responses to
this request, in particular the messages written by the homeless.
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"Saving the world. A dialogue between Suzanne Lacy and Rachel Rosenthal."
Artweek 12 Sept. 1991: n. pag.
This
article consists of a transcript of a discussion between performance
artists Lacy and Rosenthal. They tackle topics such as the importance
of reaching their audience, how they talk to the public and involve
them in their work, the world's ecological, economic, and political
breakdown and the different levels of action that can be taken to
prevent it, and art's place in both making the public aware of social
problems and urging people to action. As educators they also discuss
methods of teaching student artists and the role of education in their
development.
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Scanlan, Joseph. "Back to basics and back again." Frieze
18 (1994): 36-9.
The
author traces some of the projects undertaken by Chicago artist Dan
Peterman, who is inspired by his days working for the Chicago Recycling
Company to create works of art that focus on the theme of waste disposal
and pollution. One of these works, his 1988 Chicago Compost Shelter,
was a temporary shelter made out of waste materials, intended for
vagrants.
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---. "Culture in Action." Frieze 13 (1993): 22-7.
The
author considers the importance of public participation in public
art projects, focusing on Sculpture Chicago, a project organized by
Mary Jane Jacob and involving community activities with her Culture
in Action group. Noting that Jacob focused on achieving concrete results,
the author argues that even projects which produce little art take
on the very important task of promoting discussion.
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Seaberg, Stevens, Kenneth J. Knoespel, and Gary Solak. "The demon's
face: an artist's discovery of the metaphors of child abuse; facing
the demon, liberating the spirit; Stevens Seaberg: the aesthetics of
everyday life." Leonardo 28.1 (1995): 19-26.
This
three-part article examines the discovery by American artist Stevens
Seaberg of a common symbolism in the artwork of adult artists who
were children of alcoholics, and his use of this symbolism as a therapeutic
process in his own work.
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Solnit, Rebecca. "Voices of the streets." Camerawork: a
Journal of
Photographic Arts 22.1 (1995): 4-10.
The
artist Rebecca Solnit discusses her interest in street life and comments
on the work of photographers Susan Scuppli and Dan Schuerholz, observing
issues that appear in their work: homelessness, street crimes against
women, violence and revolution in public spaces, and the attempt of
government to control public space and prevent public protest in the
streets.
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Wolverton, Terry. "Operation Hammer." High Performance
15.2-3 (1992): 30-1.
The
author discusses an artmaking and performance group assembled by artist
Linda Carmella Sibio in Los Angels. Composed of men diagnosed with
mental illness, and focusing its artwork on issues such as homelessness,
drug addiction and police harassment, the group includes members Doyle
Jackson, Douglas Perry, Little Wolf and Joseph Chapman.
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Woodbridge, Sally, and Anna Novakov. "‘Veiled histories' conference;
‘Veiled extracts': Bay Area work in progress." Public Art
Review 8.1 (1996): 26-30.
This
article examines the issues discussed at San Francisco's Veiled Histories
conference in 1996. The conference focused on public art, temporary
and activist art, and the benefits of interacting with audience, featuring
speakers such as Terri Cohn, Constance Lewallen, and Susan Pontious,
and artists Dennis Adams, Suzanne Lacy, Krzysztof Wodiczko, and Victoria
Vesna.
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Wright, Bruce N. "The language of hope." Public Art Review
6.2 (1995): 42-3.
This
article examines the success of the Neighborhood Safe Art program
in Minneapolis, a project which involves encouraging youth to paint
murals. Fostering co-operation and a sense of responsibility, the
mural activities include workshops with local artists, and are meant
to combat violence and discontent in the community.
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