While Stockholm has made significant investments in formal public art throughout the inner city and suburbs, the city has a lack of informal public art. Defined as a feature or work produced by a person who considers themselves to be an artist or craftsperson, located in a place accessible to and used by the public, public art can be either formal or informal. Informal public art generally has no formal process, with flexibility on the temporal nature of the work, materials and subject. This allows the artwork to inhabit spaces which are overlooked or underinvested in by formal public art commissioning bodies, and not have to follow formal public art requirements which are part of the broken “public art machine”. (Phillips, 1988). Much of Stockholm’s urban environment is considered beautiful, has heritage value and/ or is protected. But Stockholm also hosts many spaces in between – spaces that hold the city together, including infrastructure, bridges, alleys, and the places under and between them. These spaces can be labelled as a city’s residual spaces (Villagomez, 2010), and are where informal public art can be utilised to make these spaces into places. This study outlines the importance of and background to public art in the context of Stockholm. A survey of Stockholm’s residents, visitors and potential future visitors established how they feel about public art in the city, as well as in residual urban spaces, and to what extent it assists with establishing a place connection. This was accompanied by onsite interventions and observational analysis which challenged the way residual urban spaces are being used in Stockholm, and developed a case for how informal public art can be incorporated in the city’s residual urban spaces.

The sculpture Syrian horse was placed in Uddevalla, Sweden, in 2019. At first it was borrowed by Uddevalla municipality. Soon it became so popular among the inhabitants which led to a fundraising to enable a public purchase of the sculpture. The aim of this essay was to analyze the process of how a public art work, a sculpture, was procured form the perspective of three actors; the procurer, the artist and the viewer. The following methods were used: qualitative interview with the artist, public document from the procurer Uddevalla municipality, observation of the sculpture in situ with photo documentation, and telephone conversation with the former antiquarian in Uddevalla municipality. Sculpture theory based on Rosalind Krauss and Jessica Sjöholm Skrubbe was central for the analysis. Furthermore, semiotic with Roland Barthes´s concepts denotation and connotation, Ferdinand de Saussure´s concepts expression and content and Charles Sanders Pierces´s concept iconic sign was central. For contextualization of the horse as a motive, different types of horse sculptures were used for comparison. The result shows that for the procurer, no policy or guidelines for public art within the municipality existed to procure public art. The success factors were committed officials, network contacts and being on the right place in the right time. For the artist, the site where the sculpture was placed was of great importance, which was one aspect of realizing his vision of the artwork. Also, the form and technique made the sculpture successful. The viewers turned out to be an important part of the process by visiting the sculpture on site, activities on social media and started a fundraising to enable a public procurement of the sculpture. Also, the artist lowered the price of the sculpture to meet the viewers engagement. Finally, the presence of policy or guidelines for public art within the municipality to procure public art cannot be seen as a determinant. Other sources of funding for public art should be investigated. Several aspects in the composition of the Syrian horse indicate that it is contemporary art, e.g. aspects of globalization, integration and gender.

In 1973 , the citizens of Nebraksa embarked upon the Nebraska I-80 Bicentennial Sculpture Project, which provided large roadside sculptures along Interstate 80. A controversial project, referred to as an outdoor sculpture garden, it was completed in 1976 as a lasting commemoration of America's Bicentennial, The sculptures are interspersed for approximately five hundred miles throughout the state and located on alternate sides of the expressway at roadside rest areas.

This Master thesis is about building-related public art as future cultural heritage and its management, preservation, and digital accessibility from a value perspective. Furthermore, the aim is to develop proposals for a management model and public tools that could benefit the accessibility of public art and thus also its preservation. A management model that provides an overview of management objects of public art and that can be shared with the public to create understanding, participation, and interaction. The thesis includes a critical report on the planning of a GIS project. GIS is a geographic information system, it provides tools for creating, editing, and analyzing data.The purpose of the critical report is to highlight that GIS can be used in an easily way but also requires a critically reflexive approach. The approach in the GIS project is critical, interdisciplinary and the mapping is based on cultural presence as a method. The result shows that geographic Information Systems (GIS) is a useful tool and can be easily use with the free ArcGIS software. There is some of the areas that GIS users need to handle as risk analysis, legislation, interdisciplinary and intercultural perspective. It is important that the material created with GIS is shared with the public to create understanding, participation, and interaction. Thus, it is relevant to contextualize the content from a historical perspective and in relation to the present and the target group. Therefore, is important to keep in mind that norms and values change over time and that making the material available can mean reaching a global audience, an intercultural approach could be beneficial.

Through a case study of Prada Marfa, a site-specific public art sculpture located in West Texas, this dissertation examines the connection of public art, cultural tourism, and image-based social media engagement. Little scholarship that combines all three areas of study exists. To fill this gap, this study incorporates five methods of research to determine how one public art sculpture's existence can contribute to its surrounding community by prompting economic activity and influencing the way that community is seen through a public lens. The five methods encompass a historical analysis of news articles about The City of Marfa and Prada Marfa, a content analysis of Instagram posts, observations of interactions at the Prada Marfa site, a survey sent to Instagram users, and interviews with key stakeholders related to the sculpture and the Marfa community. This dissertation finds that the acts of photography and performance work together to show how Prada Marfa's existence generates intrigue for The City of Marfa and can influence tourism. It emphasizes that, regardless of a tourist's motive to visit the sculpture, they were still influenced to travel to the region specifically to see Prada Marfa. This dissertation also finds that the public narrative of Prada Marfa does not fully represent its local community and that the tourism dollars earned through arts engagement do not touch all individuals living in The City of Marfa. This research further reveals how image-based social media engagement, seen through the lens of cultural tourism to visit an Instagram-able site, can contribute to a community's economy and public-facing identity. This research can be used as an advocacy tool for the nonprofit arts community when trying to discuss the benefits of public visual art.

In this paper, I will explore the role of artificial light in public art through a case study project. With the word role, I mean the visual and conceptual hierarchy of materials and resources in artwork. Light is a significant resource in public art. The artwork needs highlighting, especially in Northern countries where the winter’s darkness is inevitable. Light is not only a highlighter, it also tells a story of its own. 
First, I’m going to open up the concepts of public space, public art, light in public art and light art, to place the study in context. The literature review in the first part of the study allows better insight into the relation of light, public art, and light art.
The second part introduces the selected case study project, which is a concept design of a landscape artwork competition, for Tramway art in Tampere, Finland. Richard Kelly’s perceptual theory will be used to discuss the observations from the case study. Kelly’s theory consists of three fundamental elements of visual design: ambient luminescence, focal glow and play of brilliants.
The researcher’s subjective experience in the case study discusses with the documentations and observations of the project, to explore the circumstances and to examine the boundary conditions of the case study project. 
The role of artificial light in public art can be functional and make the space visible; it can be a highlighter and drag the focus into the artwork; or it can be the artwork itself. With the findings of the case study, I will divide the roles of artificial light in public art in functional, supporting and leading.

For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service. / Dance

In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance. / Philosophy

This is a project that focuses on building awareness for solitary bees and how we can use public sculptures/artifacts to help and to create a positive vision of the future through art, design,science and to promote bio diversity. A lot of modern techniques like 3D modeling, 3D printing, and CNC milling were used to bring this artifact to life. Public artworks are proven to have a positive effect on our mental health and create discussion, so with this project I wanted to create a public sculpture/artifact that benefits both humans and bees, make sure that people would take notice to it and start to investigate the creation, see all the life that lives around and inside it. This is a form with a function. The material used in this creation will be discarded wood and the wood will decompose with time.  Vacancy focuses on integrating nests for species, in this case solitary bees, within artistic public sculptures and artifacts. Through the creation of this sculpture/artifact, the project aims to engage and inspire the curiosity of the viewer to reflect on the ongoing crisis facing our pollinators. Furthermore, the project aims to promote biological diversity.

嚴瑞芳. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 31-32). / Abstract in Chinese and English. / Yan Ruifang. / 前言 --- p.1 / 從自律到他律 --- p.4 / 必然的創作過程 --- p.9 / 從公共空間到公共性 --- p.10 / 對話性的平台 --- p.13 / 例子一 ：Francis Alys --- p.16 / 例子二 ： Sophie Calle --- p.18 / 例子三：Gillian Wearing --- p.19 / 說故事作爲理想溝通方法 --- p.21 / 一個收買故事的故事 --- p.24 / 總結 --- p.26 / 附錄一：作品簡述 --- p.28 / 參考書目 --- p.31