Whose Monument Where_2008
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View Whose Monument Where_2008 as PDF for free.
More details
- Words: 1,964
- Pages: 12
WHOSE MONUMENT WHERE? A COURSE ON PUBLIC ART ART M185/ Chicana/o Studies M185/ World Arts & Cultures M126 University of California, Los Angeles FALL QUARTER 2008 Tues/Thurs 1:002:50pm, Professor Judith F. Baca [email protected] Public Affairs Building Room 2214 Office hours Bunche Hall 7th floor Tues. Thurs. 23 by appt.
COURSE CONTENT A theoretical course taught from the perspective of an artist examining Public monuments in the United States as a basis for cultural insight and critique of American values. This course uses urban Los Angeles as a textbook on urban space issues such as who is the “public” and what is “public space” in the 21st century? What defines a neighborhood and do different ethnic populations use public space differently. READINGS: You are required to complete all reading assignments. A course reader will be available for purchase as well as four textbooks entitled: Signs from the Heart: California Chicano Murals. Edited by Eva Sperling Cockcroft and Holly Barnett Sanchez the Social and Public Art Resource Center and University of New Mexico Press 1993 Siqueiros His Life and Works by Phillip Stein. International Publishers New York 1994 Mapping the Terrain The New Genre Public Art Bay Press Seattle Washington by Suzanne Lacy The Gift The Erotic Life of Property by Lewis Hyde The Lure Of The Local The New Press, New York by Lucy Lippard Most of the readings will be reflected in the context of seminar discussions. For every seminar discussion, you will be expected to provide evidence of having worked with the text prior to your participation in class discussions.
1
PROJECTS: Throughout the course, you will be expected to demonstrate progress on your project. Demonstration of projects assigned during the course must be turned in when due. Work that is not turned in on time will not be evaluated.
PROFESSIONAL CONDUCT: You will earn points based on attendance, punctuality; helpful and constructive participation in class discussions; a spirit of cooperation; civil behavior; and conversation that encourages a free and democratic exchange of ideas---this is conversation that furthers critical thought and acknowledges the dignity and worth of every person.
WHOSE MONUMENT WHERE? PROJECTS IN PUBLIC ART
READING LIST 1.
“Tilted Arc: Enemy Of The People?” Robert Storr
2.
“ Public Art—The General Will” Arthur Danto
3.
“ Uninvited Guests. How Washington Lost The Dinner Party” Lucy Lippard
4.
“ Out Of Order: The Public Art Machine” Patricia Phillips
5.
“Temporality And Public Art” Patricia Phillips
6.
“Public Art’s Critical Condition” Patricia Phillips
7.
“History Lessons” Bradford Collins
8.
Critical Issues In Public Art Harriet Senie And Sally Webster
9.
“Art Against Nature? What We Learned From Christo” Rhundp Shearer International Friends Of Transformative Art
10. The ReEnchantment Of Art Suzi Gablick 11. Art In The Public Sphere Mitchell Univ. Of Chicago Press 12. “L.A. Riots; Just The Beginning” Mike Davis Pamphlet From Open Magazine Series. Tel 908 7899608
2
13. “Fortress Los Angeles: The Militarization Of Urban Space” Mike Davis 14. Variations On A Theme Park The New American City And The End Of Public Space Edited By Michael Sorkin The Noon Day Press 1992 15. Out Of Site A Social Criticism Of Architecture Edited By Diane Ghirardo Bay Press 1991 16
“Can Architects Be Socially Responsible?” By Margaret Crawford Introduction By Diane Ghirardo
17. The Conscience Of The Eye The Design And Social Life Of Cities
Richard Sennett Alfred A
Knopf 1990 18. Art In The Public Interest Edited With An Introduction By Arlene Raven Da Capo Press New York 1993
3
READING LIST ON MURALISM 1.
SIGNS FROM THE HEART; CALIFORNIA CHICANO MURALS edited by Eva Cockcroft with a foreword by Judith F. Baca published by the SOCIAL AND PUBLIC ART RESOURCE CENTER. by the University Of New Mexico Press 1993
2.
TOWARD A PEOPLES ART; THE CONTEMPORARY MURAL MOVEMENT By Eva Cockcroft And John Weber
3.
CULTURES IN CONTENTION By Diane Neumiere And The Real
Comet Press. Interview With
Judith F. Baca 4.
STREET GALLERY: GUIDE TO 1000 LOS ANGELES MURALS 1993 BY Robin Dunitz
5.
SAN FRANCISCO MURALS Community Creates its Muse 19141994
By Tim Drescher6. COMMUNITY MURALS: THE PEOPLES ART Alan Barnett New York Associated University press 7.
GRAFFITI: TWO THOUSAND YEARS OF WALL WRITING By Reisner Robert New York Cowles Book Co. 1971
8
MEXICAN MURALS IN THE UNITED STATES By Laurence P, Hurlburt University of New Mexico Press Albuquerque 1989
9
MEXICAN REVOLUTION THROUGH THE MEXICAN MURALS
10. SIQUEIROS HIS LIFE AND WORKS b y Philip Stein International publishers New York 1994 11. DIEGO RIVERA MURAL PAINTING Text by Antonio Rodriquez Fondo Editorial de la Plastica Mexicana Trusteeship in the Banco Nacional de Comercio Exterior Mexico City 1988 12. LICHENSTEIN MURAL IN NEW YORK Book On The Production 13. SPRAY CAN ART Henry Chalfant And James Prigoff London: Thames And Hudson 1987 14
OTHER VISIONS OTHER VOICES: WOMEN POLITICAL ARTISTS IN GREATER LOS ANGELES BY Paul Von Blum University Press of America Inc. 1994
4
15. MAPPING THE TERRAIN NEW GENRE PUBLIC ART Edited by Suzanne Lacy. 1995 (Chapter by Judith F. Baca) 16. MUSEUM OF THE STREETS MINNESOTA’S CONTEMPORARY OUTDOOR MURALS By Moira F. Harris Pogo Press St. Paul 1981 17. SPIRIT POLES AND FLYING PIGS By Erica Doss 1995 Chapter on the Murals of Guadalupe.
18. THE LURE OF THE LOCAL By Lucy R. Lippard 19. TALKING BACK By Bell Hooks
TENTATIVE SCHEDULE OF TOPICS/PROJECTS
WEEK 0:
TOPIC VIDEO:
Introduction A Theoretical Course in Public Art. “ Works in Progress “ The production of “La Memoria de Nuestra Tierra USC“ by Judith F. Baca” PBS 30 min. Newly released work sponsored by the Annenberg Foundation
SLIDES:
Slide Show by Professor Baca Beyond the Mexican Mural: 2 hour lecture on the World Wall, The Great Wall, and Guadalupe Projects.
PROJECT
Begin planning collaborative or individual public project.
READING
Mapping the Terrain: Edited by Suzanne Lacy Chapters 3,4,6,7 Please review sparcmurals.org, read about Sparc and browse site to prepare questions for our Guest speaker Debra Padilla
5
WEEK ONE: Tues
TOPIC: SPARC: SITE OF PUBLIC MEMORY/ Public Art Director for the Social and Public Art Resource Center in Venice California
PROJECT:
Discussion of required term project for the class
READING:
reader on Professor Baca’s work
Thursday
TOPIC
History of the U.S. Public Monuments “From the Canon in the Park to the Picasso in the Plaza
Website:
“Picasso in the Plaza” slides. These slides and narrative soon to be posted on Prof. Baca’s web site.
READING
Reenchantment of Art Chapter 1,7,8 in Reader
PROJECT:
Research, define, and document site for proposal. Present to class complete with demographics.
WEEK TWO: Tues
6
TOPICS:
The Monument Redefined: What do artists choose to Memorialize during these times? • • • • • • •
SLIDES:
How do various demographic populations define public space? How does the usage of public space vary in ethnic communities? Are there commonly held beliefs between communities about “public” space? Review of Los Angeles urban public spaces from Skid Row to the Valley The imposition of public art as a colonizing methodology Implications of public art as social intervention Are there particular ethical implications for artists of color working in public venues? How has work in public changed the classical models of the artist as a solitary creator?
Review of the works; a. The AIDS Quilt b. N.Y.C. Dump by Meryl Ukeles c. Crystal Quilt by Suzanne Lacey d. Great Wall of L.A. by Judy Baca e. Seattle Public Project by Edgar Heap of Birds f. L.A. Poverty Department by John Malpede g. Bradley McCallum ‘s Gun Project h. Woman’s monument Mexico I. Luis Jimenez public sculptures
READING: PROJECT:
THE GIFT by Lewis Hyde WHAT YOU SHOULD BE DOING • •
Defining “The Public” or “A Public” Define audience for public project interview and produce substantiation paper. Make appointments with TA for review of your project
WEEK THREE: Tues
GUEST SPEAKER:
TBA GUEST SPEAKER
READING:
Amalia Mesa Bains: “Descansos: Sites Of Memory” Thurs
TOPIC PUBLIC VS PRIVATE SPACE: The Artist Response to each? •
Surveillance, in public spaces
7
• • •
Private response to public space Public response to private space Public response to public space Slides
• • • • PROJECT:
READING:
Examples of Vendedores, Homeless camps San Antonio Yard Altars Sign from the Heart slides and Chicano mural collection Sparc
Give update to class. Define intent. Make appointment with TA concerning your project
Week three: Mike Davis Fortress L.A. Urban Revolt in the United States: a thousand points of light Student Project discusssions office hours\ WEEK FOUR: TUESDAY
MURALISM
TOPIC: • • • • • • •
Siquieros In Los Angeles: America Tropical A Chicana at Taller Siqueiros in Cuernavaca 1977 Los Tres Grandes History of Mexico in Muralism, American Tropical, Wpa murals Chicano Mural Movements influence on American Muralism Film
• •
READING:
WALLS OF FIRE, Los Tres Grandes CHICANO MURALS OF EAST L.A: Sites of Memory, Resistance and Intervention
Siqueiros Phillip Stein, AND SELECTED READER ARTICLES, America Tropical Signs from the Heart
TOUR:
Ucla technology portal
(If you are unable to attend this tour then an assignment for a written paper on mural site visits will be required. With slide documentation) • WEEK FIVE: Tuesday
8
Contemporary Muralists Issues
TOPIC:
Which murals are preserved and why. Class status Intellectual rights Ownership of murals Midterm paper due. Minimum length six pages.
PROJECT:
READINGS
SIGNS FROM THE HEART AND READER
WEEK SIX: Tuesday
TOPIC: • • • •
GUERILLA ART Graffiti beauty or blight? Robbie Conal poster work: Why is valued differently? Think Again, Guerilla girls
PROJECT:
Report on project continue work
READING:
“Notes from the Other side” Reader Art Crimes, Spraycan Art
Reader on Graffiti art
WEEK SEVEN: Tuesday Issues of Censorship
TOPIC • • • READING:
Self censorship by the artist First Amendment issues and interpretation Walking the fine line between community sensitivity and censorship “ Uninvited Guests. How Wahington Lost The Dinner Party” Lucy Lippard, “TILTED ARCH: ENEMY OF THE PEOPLE?” ROBERT STORR
PROJECT:
Continue work reports in class.
READING:
Graffiti Pit reader, available at Dickson Hall Art Library America Tropical, Black Panther Mural, Signs from the Heart: California
Chicano Murals
9
WEEK EIGHT: Tues
Public Space: Infusion of Religious Iconography in public spaces
TOPIC:
• • •
READINGS:
Religious rights appropriation of public Space Freedom from religion? The Ten commandment controversy in American Cities
Reader on Ten commandments
Thursday
GUEST SPEAKER:
JOHN MALPEDE (RFK PROJECT)
TOPIC:
Public Performance as Public Art
WEEK NINE: Tues
Present Final Projects (attendance by all students is mandatory)
WEEK TEN: tuesday:
Conclude Presentation of Final Projects
10
STUDENT PROPOSAL FOR A PUBLIC ART PROJECT Students will team up with other students and work in a collaboratively example: one can work on the STEPS TOWARD COMPLETION: 1.
DEFINE THE AUDIENCE Develop a proposal for a defined audience. Develop a methodology and research to substantiate a definition of your audience.
complete
Who is the work for? What function will this public artwork have within the community, if any? 2.
PUBLIC ART WORK WILL ADDRESS.
Why is it important? Why will it enhance their lives? Give us insight into the issues affecting your audience.
3.
DEVELOP RESOURCES FOR THE DEVELOPMENT OF THE PROJECT
What will it take to get it done? Who could help?
4.
DEVISE A METHODOLOGY FOR THE PRODUCTION OF THE WORK.
Is the work participatory? During its production what of the process is accessible to the public? 5.
6.
PLAN A PRESENTATION FOR APPROVAL OF THE PROJECT TO BE GIVEN IN CLASS. You will be required to give a public presentation to the class who will function as a commission for the approval or disapproval of the project. Why should we give you the permission to do the work? PRODUCE A WRITTEN, VISUAL, OR PERFORMANCE DESCRIPTION OF YOUR PUBIC ART PLAN.
11
12
COURSE CONTENT A theoretical course taught from the perspective of an artist examining Public monuments in the United States as a basis for cultural insight and critique of American values. This course uses urban Los Angeles as a textbook on urban space issues such as who is the “public” and what is “public space” in the 21st century? What defines a neighborhood and do different ethnic populations use public space differently. READINGS: You are required to complete all reading assignments. A course reader will be available for purchase as well as four textbooks entitled: Signs from the Heart: California Chicano Murals. Edited by Eva Sperling Cockcroft and Holly Barnett Sanchez the Social and Public Art Resource Center and University of New Mexico Press 1993 Siqueiros His Life and Works by Phillip Stein. International Publishers New York 1994 Mapping the Terrain The New Genre Public Art Bay Press Seattle Washington by Suzanne Lacy The Gift The Erotic Life of Property by Lewis Hyde The Lure Of The Local The New Press, New York by Lucy Lippard Most of the readings will be reflected in the context of seminar discussions. For every seminar discussion, you will be expected to provide evidence of having worked with the text prior to your participation in class discussions.
1
PROJECTS: Throughout the course, you will be expected to demonstrate progress on your project. Demonstration of projects assigned during the course must be turned in when due. Work that is not turned in on time will not be evaluated.
PROFESSIONAL CONDUCT: You will earn points based on attendance, punctuality; helpful and constructive participation in class discussions; a spirit of cooperation; civil behavior; and conversation that encourages a free and democratic exchange of ideas---this is conversation that furthers critical thought and acknowledges the dignity and worth of every person.
WHOSE MONUMENT WHERE? PROJECTS IN PUBLIC ART
READING LIST 1.
“Tilted Arc: Enemy Of The People?” Robert Storr
2.
“ Public Art—The General Will” Arthur Danto
3.
“ Uninvited Guests. How Washington Lost The Dinner Party” Lucy Lippard
4.
“ Out Of Order: The Public Art Machine” Patricia Phillips
5.
“Temporality And Public Art” Patricia Phillips
6.
“Public Art’s Critical Condition” Patricia Phillips
7.
“History Lessons” Bradford Collins
8.
Critical Issues In Public Art Harriet Senie And Sally Webster
9.
“Art Against Nature? What We Learned From Christo” Rhundp Shearer International Friends Of Transformative Art
10. The ReEnchantment Of Art Suzi Gablick 11. Art In The Public Sphere Mitchell Univ. Of Chicago Press 12. “L.A. Riots; Just The Beginning” Mike Davis Pamphlet From Open Magazine Series. Tel 908 7899608
2
13. “Fortress Los Angeles: The Militarization Of Urban Space” Mike Davis 14. Variations On A Theme Park The New American City And The End Of Public Space Edited By Michael Sorkin The Noon Day Press 1992 15. Out Of Site A Social Criticism Of Architecture Edited By Diane Ghirardo Bay Press 1991 16
“Can Architects Be Socially Responsible?” By Margaret Crawford Introduction By Diane Ghirardo
17. The Conscience Of The Eye The Design And Social Life Of Cities
Richard Sennett Alfred A
Knopf 1990 18. Art In The Public Interest Edited With An Introduction By Arlene Raven Da Capo Press New York 1993
3
READING LIST ON MURALISM 1.
SIGNS FROM THE HEART; CALIFORNIA CHICANO MURALS edited by Eva Cockcroft with a foreword by Judith F. Baca published by the SOCIAL AND PUBLIC ART RESOURCE CENTER. by the University Of New Mexico Press 1993
2.
TOWARD A PEOPLES ART; THE CONTEMPORARY MURAL MOVEMENT By Eva Cockcroft And John Weber
3.
CULTURES IN CONTENTION By Diane Neumiere And The Real
Comet Press. Interview With
Judith F. Baca 4.
STREET GALLERY: GUIDE TO 1000 LOS ANGELES MURALS 1993 BY Robin Dunitz
5.
SAN FRANCISCO MURALS Community Creates its Muse 19141994
By Tim Drescher6. COMMUNITY MURALS: THE PEOPLES ART Alan Barnett New York Associated University press 7.
GRAFFITI: TWO THOUSAND YEARS OF WALL WRITING By Reisner Robert New York Cowles Book Co. 1971
8
MEXICAN MURALS IN THE UNITED STATES By Laurence P, Hurlburt University of New Mexico Press Albuquerque 1989
9
MEXICAN REVOLUTION THROUGH THE MEXICAN MURALS
10. SIQUEIROS HIS LIFE AND WORKS b y Philip Stein International publishers New York 1994 11. DIEGO RIVERA MURAL PAINTING Text by Antonio Rodriquez Fondo Editorial de la Plastica Mexicana Trusteeship in the Banco Nacional de Comercio Exterior Mexico City 1988 12. LICHENSTEIN MURAL IN NEW YORK Book On The Production 13. SPRAY CAN ART Henry Chalfant And James Prigoff London: Thames And Hudson 1987 14
OTHER VISIONS OTHER VOICES: WOMEN POLITICAL ARTISTS IN GREATER LOS ANGELES BY Paul Von Blum University Press of America Inc. 1994
4
15. MAPPING THE TERRAIN NEW GENRE PUBLIC ART Edited by Suzanne Lacy. 1995 (Chapter by Judith F. Baca) 16. MUSEUM OF THE STREETS MINNESOTA’S CONTEMPORARY OUTDOOR MURALS By Moira F. Harris Pogo Press St. Paul 1981 17. SPIRIT POLES AND FLYING PIGS By Erica Doss 1995 Chapter on the Murals of Guadalupe.
18. THE LURE OF THE LOCAL By Lucy R. Lippard 19. TALKING BACK By Bell Hooks
TENTATIVE SCHEDULE OF TOPICS/PROJECTS
WEEK 0:
TOPIC VIDEO:
Introduction A Theoretical Course in Public Art. “ Works in Progress “ The production of “La Memoria de Nuestra Tierra USC“ by Judith F. Baca” PBS 30 min. Newly released work sponsored by the Annenberg Foundation
SLIDES:
Slide Show by Professor Baca Beyond the Mexican Mural: 2 hour lecture on the World Wall, The Great Wall, and Guadalupe Projects.
PROJECT
Begin planning collaborative or individual public project.
READING
Mapping the Terrain: Edited by Suzanne Lacy Chapters 3,4,6,7 Please review sparcmurals.org, read about Sparc and browse site to prepare questions for our Guest speaker Debra Padilla
5
WEEK ONE: Tues
TOPIC: SPARC: SITE OF PUBLIC MEMORY/ Public Art Director for the Social and Public Art Resource Center in Venice California
PROJECT:
Discussion of required term project for the class
READING:
reader on Professor Baca’s work
Thursday
TOPIC
History of the U.S. Public Monuments “From the Canon in the Park to the Picasso in the Plaza
Website:
“Picasso in the Plaza” slides. These slides and narrative soon to be posted on Prof. Baca’s web site.
READING
Reenchantment of Art Chapter 1,7,8 in Reader
PROJECT:
Research, define, and document site for proposal. Present to class complete with demographics.
WEEK TWO: Tues
6
TOPICS:
The Monument Redefined: What do artists choose to Memorialize during these times? • • • • • • •
SLIDES:
How do various demographic populations define public space? How does the usage of public space vary in ethnic communities? Are there commonly held beliefs between communities about “public” space? Review of Los Angeles urban public spaces from Skid Row to the Valley The imposition of public art as a colonizing methodology Implications of public art as social intervention Are there particular ethical implications for artists of color working in public venues? How has work in public changed the classical models of the artist as a solitary creator?
Review of the works; a. The AIDS Quilt b. N.Y.C. Dump by Meryl Ukeles c. Crystal Quilt by Suzanne Lacey d. Great Wall of L.A. by Judy Baca e. Seattle Public Project by Edgar Heap of Birds f. L.A. Poverty Department by John Malpede g. Bradley McCallum ‘s Gun Project h. Woman’s monument Mexico I. Luis Jimenez public sculptures
READING: PROJECT:
THE GIFT by Lewis Hyde WHAT YOU SHOULD BE DOING • •
Defining “The Public” or “A Public” Define audience for public project interview and produce substantiation paper. Make appointments with TA for review of your project
WEEK THREE: Tues
GUEST SPEAKER:
TBA GUEST SPEAKER
READING:
Amalia Mesa Bains: “Descansos: Sites Of Memory” Thurs
TOPIC PUBLIC VS PRIVATE SPACE: The Artist Response to each? •
Surveillance, in public spaces
7
• • •
Private response to public space Public response to private space Public response to public space Slides
• • • • PROJECT:
READING:
Examples of Vendedores, Homeless camps San Antonio Yard Altars Sign from the Heart slides and Chicano mural collection Sparc
Give update to class. Define intent. Make appointment with TA concerning your project
Week three: Mike Davis Fortress L.A. Urban Revolt in the United States: a thousand points of light Student Project discusssions office hours\ WEEK FOUR: TUESDAY
MURALISM
TOPIC: • • • • • • •
Siquieros In Los Angeles: America Tropical A Chicana at Taller Siqueiros in Cuernavaca 1977 Los Tres Grandes History of Mexico in Muralism, American Tropical, Wpa murals Chicano Mural Movements influence on American Muralism Film
• •
READING:
WALLS OF FIRE, Los Tres Grandes CHICANO MURALS OF EAST L.A: Sites of Memory, Resistance and Intervention
Siqueiros Phillip Stein, AND SELECTED READER ARTICLES, America Tropical Signs from the Heart
TOUR:
Ucla technology portal
(If you are unable to attend this tour then an assignment for a written paper on mural site visits will be required. With slide documentation) • WEEK FIVE: Tuesday
8
Contemporary Muralists Issues
TOPIC:
Which murals are preserved and why. Class status Intellectual rights Ownership of murals Midterm paper due. Minimum length six pages.
PROJECT:
READINGS
SIGNS FROM THE HEART AND READER
WEEK SIX: Tuesday
TOPIC: • • • •
GUERILLA ART Graffiti beauty or blight? Robbie Conal poster work: Why is valued differently? Think Again, Guerilla girls
PROJECT:
Report on project continue work
READING:
“Notes from the Other side” Reader Art Crimes, Spraycan Art
Reader on Graffiti art
WEEK SEVEN: Tuesday Issues of Censorship
TOPIC • • • READING:
Self censorship by the artist First Amendment issues and interpretation Walking the fine line between community sensitivity and censorship “ Uninvited Guests. How Wahington Lost The Dinner Party” Lucy Lippard, “TILTED ARCH: ENEMY OF THE PEOPLE?” ROBERT STORR
PROJECT:
Continue work reports in class.
READING:
Graffiti Pit reader, available at Dickson Hall Art Library America Tropical, Black Panther Mural, Signs from the Heart: California
Chicano Murals
9
WEEK EIGHT: Tues
Public Space: Infusion of Religious Iconography in public spaces
TOPIC:
• • •
READINGS:
Religious rights appropriation of public Space Freedom from religion? The Ten commandment controversy in American Cities
Reader on Ten commandments
Thursday
GUEST SPEAKER:
JOHN MALPEDE (RFK PROJECT)
TOPIC:
Public Performance as Public Art
WEEK NINE: Tues
Present Final Projects (attendance by all students is mandatory)
WEEK TEN: tuesday:
Conclude Presentation of Final Projects
10
STUDENT PROPOSAL FOR A PUBLIC ART PROJECT Students will team up with other students and work in a collaboratively example: one can work on the STEPS TOWARD COMPLETION: 1.
DEFINE THE AUDIENCE Develop a proposal for a defined audience. Develop a methodology and research to substantiate a definition of your audience.
complete
Who is the work for? What function will this public artwork have within the community, if any? 2.
PUBLIC ART WORK WILL ADDRESS.
Why is it important? Why will it enhance their lives? Give us insight into the issues affecting your audience.
3.
DEVELOP RESOURCES FOR THE DEVELOPMENT OF THE PROJECT
What will it take to get it done? Who could help?
4.
DEVISE A METHODOLOGY FOR THE PRODUCTION OF THE WORK.
Is the work participatory? During its production what of the process is accessible to the public? 5.
6.
PLAN A PRESENTATION FOR APPROVAL OF THE PROJECT TO BE GIVEN IN CLASS. You will be required to give a public presentation to the class who will function as a commission for the approval or disapproval of the project. Why should we give you the permission to do the work? PRODUCE A WRITTEN, VISUAL, OR PERFORMANCE DESCRIPTION OF YOUR PUBIC ART PLAN.
11
12
Related Documents
Whose Monument Where Annotations
October 2019 20
Whose Monument Where_2008
October 2019 7
Reader For Whose Monument Where Part 2
October 2019 5
Reader For Whose Monument Where Part 1
October 2019 11
Washington Monument
June 2020 8