Barnkonventionen reglerar barns rättigheter och ansvaret för att den tillämpas i fysiskplanering faller på kommunerna. Rätten till lek kan planeras resurseffektivt genom rationellplanering men för att barns rätt att uttrycka sig i frågor som rör dem krävs kommunikativplanering. Det ställer krav på att kommuner själva aktivt samlar in åsikter genom oprövademetoder och icke traditionella sätt att arbeta. Synen på konst inom stadsplanering harbreddats och offentlig konst har en självklar plats i våra städer idag. Det finns en traditionellroll av en konstnär där denne bidrar med ett verk i slutet av en planprocess men allt oftarebidrar konstnärer utifrån en roll som konsult eller inspiratör i planprocessen, både vidmedborgardialog och gestaltning. Syftet med studien är att se över hur konstnärlig kompetens kan verka för barn deltagande iplaneringen av våra städer. Metoden utgörs av en fallstudie över Kristinebergs Slottspark därbarn varit närvarande genom historien och även planerades fortsatt verka för barn i framtiden.Studien tar hänsyn till hur planeringsprocessen, planeringsdiskurs och fysisk utformningutförts med barns deltagande i åtanke. Intervjuer med projektets konstnärlig ledare PäviErnkvist samt konstnär Elisabeth Westerlund har utförts för att se över konstnärens roll.Slutsatsen är att konstnärlig inblandning och kompetens kan verka bidragande för barnsdeltagande men det ställer krav på kommunikativ planering, medborgardialog och tydligmålsättning från planerarnas håll samt en kunskap och bredare syn på konstnärens roll. Allt fler barn växer upp inne i storstäder och synen på vad de kan bidra med har till viss delförändrats. Idag anses barn vid tillfällen vara experter på sin egen miljö och bidragande tillnya sätt att se på planeringen av våra offentliga miljöer. Deltagande är viktigt ur ettdemokratiskt perspektiv och värdefullt för människors livskvalitet. Synen på konstens värdeför stadsplanering har emellertid vunnit större acceptans genom ett mätbart ekonomiskt värdevilket omvandlar en del av varje byggbudget till konst. Konst främjar dialog och resulterardessutom ofta i fysiska verk i vår stad. Kan barn då vara med och skapa staden genom konst? / Communicative planning is considered to create participation for many social groups andcontribute to new perspectives on urban planning of public spaces as more levels ofknowledge are added. Through communicative planning, children's right to be consulted onmatters concerning them as stated in the Convention of Childrens Rights, can be taken in toaccount. But in order for children to be heard municipalities are required to actively collectchildren's views, and that in itself demands unproven methods and non-traditional ways ofworking. The view of art in urban planning has broadened. The traditional role of an artist iscontribution with a piece at the end of the planning process, but an artist's work can alsocontribute artistic competence or act as an inspiration. These roles, compared to thetraditional role, have not been fully accepted by officials and planners. The purpose of this study was to examine how artistic work can promote greater participationof children. An extensive literature study has been conducted based on scientific papers,legislation, reports from concerned authorities, reports, statistics, interviews and facts to get abroad understanding of children's participation and the role of art in the planning discourse,the planning process and the design of our public spaces. To interviews were held withartistic leader Pävi Ernkvist and artist Elisabeth Westerlund. The conclusions drawn were thatartistic involvement and expertise can enhance the communication with children, whichcreates a higher level of participation. Art can serve as a prototype for possible changes andwithin it the reflections may eventually create spaces based on the children's terms, whichcan give them a higher level of participation, primarily in smaller projects.

American Indian graffiti muralism is a terminology that embodies the contemporary public art form of mural production by American Indian artists using public art installations to express ontologies of sovereignty, self-determination, and identity in different public spaces and on different objects. To date, there is no scholarship that has focused solely on American Indian graffiti muralism and ethnic markers within the medium of graffiti muralism. The dissertation, "American Indian Graffiti Muralism: Demystifying the Graffiti Medium and the Visual Harmonics of American Indian Signatures on the Modern Landscape," centers on the functionality of American Indian graffiti murals as markers of sovereignty, self-determination and identity in off-reservation municipal urban settings. Using a mixed methods framework of both qualitative and quantitative analysis this dissertation will provide new scholarship within the field of American Indian/Native American Studies and discourses on Native art and Native public art. Due to the fact that these public artworks contain multiple functions and meanings a mixed methods interdisciplinary analysis using the American Indian theoretical model of Survivance coupled with a social science theory of Geosemiotics, interviews with American Indian graffiti muralists, and quantitative empirical data collected through community-based Q survey creates a multi-narrative on the functionality of American Indian graffiti muralism. The aim of this research is to explore the functionality of different American Indian graffiti mural installations using Gerald Vizenor's Indigenous theory of survivance and the social science theory of geosemiotics. The theory of survivance aids analysis on how American Indian graffiti muralists infuse iconography and visual semiotic elements in their public art installations that (re)claim public spaces and infuse ontologies of sovereignty, self-determination, and identity in cityscapes. This is the first usage of survivance theory with Native public art and provides an ethnically appropriate means to investigate American Indian graffiti muralism. Geosemiotics theory provides analysis on how different American Indian graffiti murals interact with the physical landscape they reside within to create ideals of place and place perceptions in the populace. Geosemiotic analysis of American Indian graffiti murals illuminates how the art adds to a pluralistic public dialectic of place. By creating a dualistic theoretical lens this research addresses the suggestion that new discourses on Native art and Native public art require more analysis involving theoretical models and Indigenous ways of knowing through use of survivance theory, while also showing how a secondary social science theory can bolster a qualitative narrative on the functionality of Native public art. Artistic analysis is inherently subjective and the multi-theoretical application in this dissertation addresses how subjectivity and socio-political elements of American Indian graffiti muralism require a fully rounded framework to explore the function of these installations in our cities. The narratives of American Indian graffiti muralists regarding their mural installations offer intimate knowledge on the function of this art form and in this research provides first-person accounts of how artists approach public art differently than their studio art productions. It was also important to offer the perspectives from the artists themselves to illuminate how this graffiti muralism came to be the chosen form of artistic expression. The conversations with Yatika Fields and Jaque Fragua offer a secondary perspective to those of the researcher and public citizens. To further capture all of the perceptions surrounding American Indian graffiti muralism a public survey using Q methodology was completed to provide a platform for community-based input. Q methodology was used as a means to collect empirical data on the subjective attitudes towards American Indian graffiti murals. The output of Q surveying provided the first empirical data on American Indian graffiti muralism and concluded the multi-narrative of this project in the statements generated and tested by multiple public citizens. Furthermore, this multi-narrative foundation furthers future discourses in American Indian/Native American studies, the social sciences, and Native art historical research by offering elements that each can utilize as points of discussion and dissection.

Culture is an active process. It does not lie dormant in things (that is, any commodity, object or event that can be made to signify), waiting patiently to be awoken by an appropriate consumer. It is the practice and making of meanings. Culture is not in the object but in the experience of the object: how we make it meaningful, what we do with it, how we value it. John Storey (2003) Inventing Popular Culture, page viii The traditional arts, dance theater, music, visual arts and multi media are all accepted as being part of culture. In the same way that culture can be defined by the perceptions and feelings of each individual the arts belong to everyone. Bruno Frey (2003) in his book Arts and Economics: Analysis and Cultural policy considers the ways in which the arts are funded and supported and argues that a decision making system involving the diverse participants, audience, experts, artists and administrators is best equipped to establish and safeguard the constitutional rights to artistic expression (Frey, 2003:17). Can the experience of the arts be protected in the same way? This is an examination of the process, physical, historical and emotional issues that all play a part in the definition of the arts in Taipei. Entering the experience as a mother, artist, foreigner and long time resident of Taipei gave the researcher the opportunity to use many lenses simultaneously. This multifaceted view informed the choice of this topic. Can heritage sites and old buildings be successfully made into public arts venues? Do the underlying elements of history and conservation contribute to the venue’s ability to reach a large audience? Can free access be in part supported by in these sites through the use volunteers instead of paid staff? In order to better understand the role of the arts in contemporary Taipei life, the researcher, under the parameters of the Volunteer Services Act of Taiwan, conducted her research while a volunteer in the venues.

Over the course of the past decade the MRT (Mass Rapid Transit) stations in Taiwan have become open air art galleries: with more prominent and frequent display of various artistic creations in stations, including interactive artworks. However, unlike the audiences in more meticulously choreographed exhibition contexts, those in stations are usually involuntary. New criteria for the creation and evaluation of artworks in these context are necessary to enhance the connection between the audience and the artwork, and to elicit meaningful experience via interactivity. This research aims to uncover the critical factors that can turn an indifferent passenger into an explorative participant, subsequently leading them to obtain meaningful experiences through interaction with computer-based interactive artwork. This research focuses on artworks that are permanently installed in the stations, with three case studies conducted in MRT stations forming the backbone of the research. Field observation was the first step in each case study, conducted in order to understand the fundamentals of the interactivity between the passengers and the artworks. This was followed by in-depth interviews with the passengers and three professional interview groups. A critical Analytical Framework was formed throughout the course of the research, identifying five engaging characteristics: Incentive, Transfer, Accessibility, Play, and Challenge. These five characteristics were eventually reapplied to re-examine the case studies and the content of the interviews with the professionals. The findings of this research articulate how the Analytical Framework can be adopted in future research intended to create the conditions for more meaningful art-interactions. This Analytical Framework will assist artists, designers and researchers in their pre-planning and follow up evaluations of the degree of engagement generated by computer-based interactive artworks displayed in transport hubs. The interest that the outcomes of this research has attracted in the field suggests that the framework could be extended to the examination of various computer-based interactive artworks in similar public contexts. In this context, the framework would play a valuable role in uncovering a more dynamic paradigm used to illustrate how meaningful experiences can evolve in similar public spaces.

In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.

[pt] Arquitetura da festa: neoconcretismo e arte pública no Rio de Janeiro é uma investigação sobre práticas artísticas contemporâneas que tomam a cidade do Rio de Janeiro como objeto. A partir da assimilação da arquitetura moderna nos anos 1950 e da relação dos artistas Amilcar de Castro e Hélio Oiticica com a cidade, este trabalho considera a desmaterialização do objeto de arte e sua transformação em ação estética como momento da ruptura neoconcreta. A participação do espectador diminui a distância entre público leigo e a arte contemporânea, que passa a assumir em sua prática a transitoriedade da vida na cidade moderna, expandindo o entendimento da arte pública contemporânea para além da ornamentação do espaço com esculturas e da produção de grafites. A realização de performances, happenings e ocupações estéticas em geral, reconfigura o espaço urbano através da suspensão de hábitos cotidianos e da participação do público, engendrando formas artísticas que apontam para a tradição carnavalesca carioca. / [en] Architecture of the festivity: neoconcretism and public art in Rio de Janeiro is an investigation about contemporary arts practices that takes the city of Rio de Janeiro as its object. With the incorporation of modern architecture and the relation between Amilcar de Castro and Hélio Oiticica with the city, from the 1950s on, this work considers the dissolution of the art object, and its transformation in an aesthetical action, as the moment of neoconcretism’s rupture. The spectators participation in building the artistic proposal diminishes the distance between the non specialized public and the contemporary art, which acquires in its practice, the transitoriness of life in the modern city, expanding the understanding of public art, nowadays, beyond the mere embellishment of the space with sculptures and graffiti. Performances, happenings and aesthetical occupations in general, reconfigure the urban space through the participation of the public, creating artistic forms that points to the cariocas carnivals tradition.

Esta pesquisa procura abordar as propriedades críticas da arte na constituição de esferas públicas, compreendendo os diferentes aspectos nos quais o conceito de público tem sido abordado no contexto artístico. Para tanto, concentra-se em propostas artísticas que lidam com espaços não institucionais da arte e procuram constituir seu público por meio de uma dinâmica da vida cotidiana, levando em consideração como as formulações artísticas e as críticas sobre o que se conceitua como Arte Pública contribuem para as intensas transformações neste campo. Como metodologia para examinar tais questões, realizei uma reflexão sobre a minha experiência enquanto artista simultaneamente a uma abordagem teórica. Assim, a estrutura da dissertação se divide em dois núcleos: o primeiro apresenta um recorte de meu percurso artístico, que problematiza a forma do texto enquanto mediador entre o leitor da dissertação e as propostas artísticas realizadas. O segundo, abrange uma contextualização teórica que discute a maneira pela qual as transformações das práticas artísticas, ao longo do século XX, abordam o conceito de público e esfera pública, tendo como referência Hannah Arendt, seguida de uma tentativa de aproximação de tais questões com o contexto brasileiro. O texto aqui apresentado é, por sua vez, uma conformação gráfica que pretende estabelecer visualmente as interconexões conceituais desse processo metodológico. / This research aims at an understanding of the critical attributes of art in the constitution of public spheres, with regard to the different aspects in which the concept of public has been approached in the artistic context. In order to do so, it focuses on artistic proposals that deal with non-institutional art spaces and that try to constitute their audiences through an everyday-life dynamic, taking into account how the artistic formulations and the criticism of public art contribute for the intense transformations in this field. As a methodology to approach these questions, I have developed an investigation about my own experience as an artist, parallel to a theoretical analysis. Thus, the structure of the thesis it is divided into two parts: the first one presents a portion of my artistic process, which problematizes text form as mediation between the reader of the thesis and the actual artistic proposals. The second one covers a conceptual contextualization, that discusses the way in which the transformation of artistic practices during twentieth century approaches the concept of public and public sphere, using as reference the work of Hannah Arendt, following an attempt to insert these questions within the Brazilian context. The presented text is a graphic organization that tries to establish the conceptual interconnections of this methodological process.

This dissertation explores the important but long forgotten career of the American artist Francis Davis Millet (1848-1912) and in the process calls into question several common understandings of turn-of-the-century American civic art. Through an examination of Millet’s civic art, including mural painting, illustration, and parades, I argue that Millet attempted to use the works he created for large audiences to help viewers navigate a common modern experience: the cultural diversity they encountered all around them. While many American artists making civic art during this period focused on allegorical scenes and emphasized whiteness, Millet’s images taught audiences about cultural diversity and even reflected a certain cultural sensitivity in their careful rendering of nonwhite subjects. In doing so, Millet employed the rhetoric of empiricism and engaged with his subject matter in a manner understood by his audience to be under the purview of science. This, I argue, aligned his project to the hierarchical understanding of “culture” and “evolution” presented by the anthropological community at the time, which argued for the superiority of white over nonwhite groups. In this way, though Millet attempted to move away from all-white subject matter and used global themes relevant to a modern moment, the underlying message he promoted served to reinforce notions of Anglo American hegemony.

Esta pesquisa procura abordar as propriedades críticas da arte na constituição de esferas públicas, compreendendo os diferentes aspectos nos quais o conceito de público tem sido abordado no contexto artístico. Para tanto, concentra-se em propostas artísticas que lidam com espaços não institucionais da arte e procuram constituir seu público por meio de uma dinâmica da vida cotidiana, levando em consideração como as formulações artísticas e as críticas sobre o que se conceitua como Arte Pública contribuem para as intensas transformações neste campo. Como metodologia para examinar tais questões, realizei uma reflexão sobre a minha experiência enquanto artista simultaneamente a uma abordagem teórica. Assim, a estrutura da dissertação se divide em dois núcleos: o primeiro apresenta um recorte de meu percurso artístico, que problematiza a forma do texto enquanto mediador entre o leitor da dissertação e as propostas artísticas realizadas. O segundo, abrange uma contextualização teórica que discute a maneira pela qual as transformações das práticas artísticas, ao longo do século XX, abordam o conceito de público e esfera pública, tendo como referência Hannah Arendt, seguida de uma tentativa de aproximação de tais questões com o contexto brasileiro. O texto aqui apresentado é, por sua vez, uma conformação gráfica que pretende estabelecer visualmente as interconexões conceituais desse processo metodológico. / This research aims at an understanding of the critical attributes of art in the constitution of public spheres, with regard to the different aspects in which the concept of public has been approached in the artistic context. In order to do so, it focuses on artistic proposals that deal with non-institutional art spaces and that try to constitute their audiences through an everyday-life dynamic, taking into account how the artistic formulations and the criticism of public art contribute for the intense transformations in this field. As a methodology to approach these questions, I have developed an investigation about my own experience as an artist, parallel to a theoretical analysis. Thus, the structure of the thesis it is divided into two parts: the first one presents a portion of my artistic process, which problematizes text form as mediation between the reader of the thesis and the actual artistic proposals. The second one covers a conceptual contextualization, that discusses the way in which the transformation of artistic practices during twentieth century approaches the concept of public and public sphere, using as reference the work of Hannah Arendt, following an attempt to insert these questions within the Brazilian context. The presented text is a graphic organization that tries to establish the conceptual interconnections of this methodological process.

abstract: By focusing on photojournalists for LIFE and Ladies’ Home Journal, I investigate mental health care in state institutions located in America during the Great Depression and World War II immediately prior to the great deinstitutionalization that began in the 1950s. Relying upon scholars of medical humanities, social theory, disability studies, feminist studies, the history of psychiatry, and the history of art, I consider the iconography used to represent mental illness in photography during the first half of the twentieth century to explore the ways mentally ill individuals were presented as disordered and lacking humanity. I explore the didactic nature of both photography and film, emphasizing how the artists and directors imbued their mediums with medical credibility and authority. The photographs of Alfred Eisenstaedt, Jerry Cooke, and Esther Bubley from the 1930-40s reveal the state of mental health care in America during the Great Depression and World War II. I will investigate the stereotypes seen in representations of mental illness in photographs and how these depictions shaped and were in dialogue with popular films like Spellbound (1945), The Snake Pit (1948), The Three Faces of Eve (1957), and Marnie (1964). As a point of contrast to the images and films representing mental illness, I examine depictions of healthy people in mental health clinics during this time. Finally, I offer four examples of public, contemporary art, including House for a Gordian Knot (2013), Bloom (2013), 1000 Shadows (2013), and Faces of Mental Health Recovery (2013), that explore mental illness to illustrate the enduring legacy of the iconography and stereotypes represented in the photography and films explored in the first half of this dissertation. / Dissertation/Thesis / Doctoral Dissertation Art History 2019