Course Description

This course will investigate the ways in which artists have presented narratives in the public realm and the organizations that have made the presentation of those works central to their curatorial practices over the last 40 years. Focusing on recent works presented in New York’s public spaces by Creative Time, The Public Art Fund, the Percent for Art Program, Arts for Transit and other non-profits organizations, this course will look at what it meant to tell stories and open discourses that challenged or interrogated widely-held value systems, the events and the politics of their time. In addition to the specifics of current and other key works and projects, we will discuss the conditions that governed the development of public performance, temporary and permanent installations, the ways in which those works were influenced by public approval processes and governmental agencies, media coverage and community response. Each student’s final project will be an on-line proposal for an exhibition that conveys a “narrative“ developed in the context of this course, referencing other relevant works .

Monday, September 14, 2015

Public Art New York Response: Brooklyn

Patricia Casey
Curating Public Narrative

Location 220 out of Public Art New York is entitled Topiary: A Twenty Year Project and it displays the work of Boston area Sculptor Mags Harries and depicts animal sculptures made of heavy aluminum wire hanging from overhead fixtures that were initially installed in 1993. They are located north and south entrances, i.e. the two primary entrances of Brooklyn’s only zoo. The industrial sculptures of Prospect Park Zoo are massive in size. Theses larger than life creatures are counteracted by topiary and intertwining greenery that will grow over the sculptural pieces within the following years.

I also made the point to see the piece by sculptor Leonard Ursachi’s latest work, "Fat Boy," which was installed in front of the park's Litchfield Villa on Prospect Park West near Fifth Street. Interestingly enough, the artwork was carved from Styrofoam and covered in weatherproof cement like material that proved to be completely weatherproof.  The piece, gargantuan in size, roughly nine feet tall depicts a giant head of a cherub with wild, protruding curls. Children in particular took a liking to the jolly expression o the figure and tried to climb on it where conversely the adults were interested in the piece but kept their distance and seemed to find the piece rather unsettling.


Another narrative that resulted as an affect of theses two sculptural pieces was a behavior of the viewers that coincides with both. Rather than marveling at the piece or viewing it in its entirety from various angles the first thing that the spectators did was photograph the piece before fully understanding it or its prominence in the context of it’s surrounding. Rather than taking pictures of the work, people deem it necessary and take pictures with the animals, icons and sculptures to validate that they existed in this space.

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