Introduction Part I The Social Practice of Public Art
1. Through the Lens of Social Practice: Considerations on a Public Art History in Progress 2. Politicizing Publics: A Social Framework for Public Artworks 3. Placing Murals in Belfast: Community, Negotiation and Change 4. The Everyday Agonistic Life after the Unveiling: Lived Experiences from a Public Art World Cafe Part II The Education of a Public Artist 5. Creating the Global Network: Developing Social and Community Practice in Higher Education 6. Throwing Stones in the Sea: Georg Simmel, Social Practice and the Imagined World 7. Open Engagement: Accessible Education for Socially-Engaged Art 8. "Context is Half the Work": Developing Doctoral Research Through Arts Practice in Culture Part III The Spatial Fabric of Public Art and Social Practice 9. Public Art as a Function of Urbanism 10. Listening in Certain Places: Public Art for the Post-Regenerate Age 11. Antagonistic Spaces: On Small, Interventionist, and Socially-Engaged Public Art 12. Why Public Art? Urban Parks and Public Art in the Twenty-First Century Part IV Visual Timeline 13. A Collective Timeline of Socially-Engaged Public Art Practice, 1950 - 2015Cameron Cartiere is an Associate Professor at Emily Carr University of Art + Design. She is author of RE/Placing Public Art, co-author of the Manifesto of Possibilities: Commissioning Public Art in the Urban Environment, and co-editor of The Practice of Public Art (with Shelly Willis). Martin Zebracki is a Lecturer (Assistant Professor) in Critical Human Geography at the University of Leeds. He has published various academic articles, journal issues and book chapters on public art and social engagement. He is author of Public Artopia: Art in Public Space in Question.
"Finally a publication that attempts to explore the multiple,
complex elements that make up contemporary art in the public
sphere. The Everyday Practice of Public Art traces the
changes in contemporary public practice through a broad reaching
series of essays: from the growth of social practice in educational
institutions, to the problematics of city public art regeneration
programs, to an analysis of art as a catalyst for social
transformation. This publication asks the question - why public
art, what is happening now and what can and should art in the
public sphere be doing for us?" Dee Hibbert-Jones, Associate
Professor of Art, University of California, Santa Cruz "This book
is a reminder that social practice is also an acknowledgement of
different perspectives, new histories, collaboration. The authors
of these texts do us a service by bringing new voices and views to
the already robust debate." Suzanne Lacy, Chair, MFA Public
Practice, Otis College of Art and Design "A wonderful collection
that takes public art as a socially engaged practice
seriously. Theoretically, practically and politically engaged, this
book does much to advance debates on art and the social world."
Loretta Lees, Professor of Human Geography and Director of
Research, University of Leicester
"This volume deserves to become essential reading for researchers
interested in understanding the processes underpinning the
production of public art, its inscription and its contribution to
social inclusion. Its value lies in the broad definition given to
public art, amply reflected in the case studies, and to the
innovative structuring of the discussion. The editors are to be
applauded for their innovative approach in teasing out socially
engaged public art practices, not least in emphasising the
pedagogic routes underpinning production, its evolution and through
bringing together authors representing a suitably diverse range of
disciplinary backgrounds." Ronan Paddison, Emeritus
Professor of Geography, University of Glasgow "The book's
value is its distillation of community-based public art practice
along with advice and curricula for the establishment of public art
programs that emphasize social involvement. Summing Up:
Recommended." S. Webster, Lehman College and the Graduate
Center CUNY in CHOICE
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