Search

Since the upsurge of public art in the 1980s, geographers have been critically analysing creative practices as drivers of urban development and regeneration. They have commonly framed perceptions of art in urban public space from the perspectives of its producers and planners. Yet, the fundamental purpose of public art is shaped by its publics, which comprise a multifaceted audience. Some scholars have held a brief for examining perceptions of public art through its publics, but let things go at that. This paper attempts to address this under-researched yet important field by presenting a survey of publics' perceptions of selected public-artwork localities in Amsterdam, Rotterdam, Antwerp and Ghent. The publics' perceptions were generally expressed in platitudes that were neither unreservedly positive nor unreservedly negative. But the distinct localities do show significant differences in publics' perceived attractiveness of the public-artwork locality. These perceptions are further situated within publics' cognitive, spatial, aesthetic, social and symbolic proximity to both the public artwork and its site. These empirical details provide insight into publics' engagement with public art in particular places and thereby provide lessons for public-art-led urban planning. Moreover, this study instigates more solid qualitative research on this specific engagement. [ABSTRACT FROM AUTHOR]

Urban regeneration in Dutch cities is increasingly accompanied by the cultural sector in general and by artists in particular. This paper presents comparative case studies on current artists-accompanied urban regeneration initiated by housing corporations in Utrecht and Rotterdam. On the basis of discourse analysis on the voices of decisive actors, it explores the rationale behind artists-accompanied urban regeneration and the sociospatial implications thereof. It empirically indicates that housing corporations are more inclined to deploy artists in urban regeneration when there are sufficient vacant buildings. It also illustrates that more decentralised housing corporations have a stronger and more long-term commitment to urban regeneration. The latter includes a greater commitment to interventions by artists within urban public space. [ABSTRACT FROM AUTHOR]

This paper focuses on particularities of indwellers' perceptions of public art and its locale by drawing on the epistemology of ‘situated knowledges’ (Haraway 1991, Simians, Cyborgs, and Women: The Reinvention of Women. New York: Routledge) and the notion of ‘geographies of engagement’ (Zebracki, Van Der Vaart and Van Aalst 2010, Geoforum 41(5): 786–795). We employ the case of Paul McCarthy's internationally acclaimed public artwork Santa Claus in Rotterdam to illustrate the sundry outlooks on its spatialities, aesthetics and moralities, and its functionalities in relation to place. Santa Claus's alleged sexual nature is highly disputed among local politicians and the local population. This dispute is narratively covered by media sources and inscribed by its popular renaming as the ‘Butt Plug Gnome’. We empirically situate documented media views within the way indwellers perceive Santa Claus and its experienced locale in interrelation with themselves. We try to open up differential vistas on public-art narration in relation to people, time and space, whereby we elaborate on the reflexive idea of ‘social relationality’ (Massey and Rose 2003, Personal Views: Public Art Research Project. Milton Keynes: The Open University) by revealing how socio-spatial differences in public-art narration are negotiated. As such, we examine how public art is geographically reconstituted through the publics, namely those for whom public art is essentially intended yet who have been neglected actors of analysis in public-art research. [ABSTRACT FROM AUTHOR]

Cultural policy has produced divergent intentions underlying the direction of public art since its advent in Western Europe in 1945. Literature has feebly demonstrated the extent to which differentialities in cultural policy have affected the production of public artworks over time and space. This paper fills this gap as regards Amsterdam and Ghent, cities that are situated in different national institutional contexts. It shows dissimilarity—in that one finds a relatively higher number of public artworks, more spatially dispersed and more diversified public artworks in Amsterdam than in Ghent, which is particularly a result of institutional differences—and similarity between these cities, in terms of initiatives by local communities and arts actors, irrespective of the local policy context. These results provide insight into policy concern with public-art production and the everyday practices and cultural traditions that underpin it. [ABSTRACT FROM AUTHOR]

Abstract: This paper problematises public artopia, in other words the collection of claims in academic literature concerning the allegedly physical-aesthetic, economic, social, and cultural-symbolic roles of art in urban public space. On the basis of interviews with public-art producers (artists, public officials, investors, and participating residents) in a flagship and a community-art project in Amsterdam, we analyse the situatedness of their public-art claims according to actors’ roles, geographical context, and time. The research suggests that public-art theory and policy suffer from three deficiencies. Theoretical claims about public-art and policy discourse feature, first, a failure to recognise different actors’ perspectives: claims fail to locate situated knowledges that are intrinsically (re)constituted by actors’ roles articulating with one another in time and space. Second is the lack of geographical contextuality: claims do not elaborate appropriately on distinct discourses about art projects’ spatial settings. Third is the lack of temporal perspective. Claims neglect the practice of public-art realisation: that is, the evolution of claims and claim coalitions over the time horizon of the art projects: preparation, implementation, and evaluation. [ABSTRACT FROM AUTHOR]