article from cabinet mag, by owen hatherly - not sure if possible to read on blog - just trying
Can an artistic intervention truly bring about an unforeseen way of thinking, or is it more of a matter of creating a sensation of ‘meaninglessness’ that shows the absurdity of the situation?
Can an artistic intervention translate social tensions into narratives that intervene in the imaginary landscape of a place?
Can an absurd act provoke a transgression that makes you abandon the standard assumptions on the sources of conflict?
Can those kinds of artistic acts bring about the possibility of change?
In any case, how can art remain politically significant without assuming a doctrinal standpoint or aspiring to become social activism?
List put together by Lynn Pearson, architectural historian, who has also written a field guide to postwar murals. http://www.lynnpearson.co.uk/
Database KEY:Materials abbreviations: A ciment fondu, B brick, C concrete, E embroidery/leather, F fibreglass, G glass, H tapestry, I photograph, J collage, K metal, L plaster, M mosaic, O plastic/formica, P painted, Q paper, R resin, S stone, T ceramic tile/faience/terracotta, V vitreous enamel, W wood, Z terrazzo. Final column, d = demolished, e = extant, u = unknown. Please report any errors to firstname.lastname@example.org
Robert Irwin essay 1985 found in Situation ed Claire Doherty
See Emma for photocopy (thanks to Leanne Turvey for the photocopy and lead)
Breaks down public art into 4 areas
Site Dominant, Site Adjusted, Site Specific and Site conditioned/determined.
Puts murals in Site Dominant.
Mano Ybarra Jr. Runs “slanguage” in Wilmington with wife Karla Diaz. Artist that makes murals and might let us stay in LA