Public spaces play essential roles in urban life for the city, the public and individuals, by setting strong relations between urban space and social and cultural values. Public spaces and their essential components have multi-dimensional impacts on people. Public art, as a constituent of public space, includes a wide range of artworks, activities and outcomes, contributing to the significance of the places in a variety of ways. However, each culture, country and city, has diverse policies and outcomes of public art based on different perspectives. Focusing on the public art policies in Ankara over the last two decades, this thesis seeks to examine how far the recent policies have contributed to the city. By carrying out in-depth investigation on the public art work interventions and policies of the Ankara Metropolitan Municipality, the thesis assesses the multi-dimensional contributions of these policies and interventions. It seeks to discuss how far the public artwork policies of localities are crucial for creating genuine public spaces of cities.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 347-362).

The task of this dissertation is to assess the historical conditions that permitted Jenny Holzer to formulate a practice premised on language and conceptions of public space to break from historical avant-garde and neo-avant-garde practices. My aim is to demonstrate the recourses sought by Holzer—through language, collaboration, and form—to reveal the operations of repression at work in the public spaces of place and language in particular moments of crises at the end of a—and at the ruined start of a new—century: the economic collapse of the late 1970s, the AIDs crisis, and the wars on terror following the events of September 11, 2001. The exemplary projects that I study in this dissertation—from her Truisms posters in downtown Manhattan in the late 1970s, to her collaborative work with The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince, and Winters, to her work with electronic signs and stone sarcophagi to address the AIDS crisis at its most dire period in 1987-89, to her light projections whose moving impermanence reflect on the continuity of mourning as an activity—each demonstrate the impossibility of neutrality. Concentrating on works conceptualized for and realized (for the most part) in New York City over the course of a quarter century, my study uses the seeming consistency of geography, or at least the fixity of a longitudinal and latitudinal intersection, to indicate the seismic changes inflicted on the city and its residents by economic, legal, political, and violent actions—and, in the case of the AIDS crisis, criminal inaction. My dissertation argues that Holzer’s unflagging demonstration of threatened subjectivity is the necessary form of protest to an ever-more bureaucratized world. / History of Art and Architecture

No description available.

This master thesis contextualise, and discuss the contemporary art as a catalyst for change, and raises social issues through art production in the urban district Nima. Perspectives of "community", and "community of practice" affiliates with examples of placed based art, mainly mural paintings performed in the urban landscape of the community, in the stigmatised community Nima, an area in Ghana’s capital Accra. The study has identified an artistic climate that is emerging from within the community, where artists have created a system for various forms of arts education. The artistic climate is a process of social practice, and this study further discuss the interaction of people in the process of art production, which provides both local, and global perspectives of art. Issues of representation, especially who is in the position to represent others, and how others are in fact represented are discussed and analysed as well as the terminology of “African art”.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 273-284).

This diploma thesis deals with a wide field of performing arts in the public space, the so-called busking, in relation to two main lines of thought - partly to the barriers for implementation of activities, across cities; second, to the cultural development policies within the region. Collected theoretical knowledge and practical experience (eg from historical development of urban communities, studies of numerous legislative documents, cultural development policies, the author's own research, numerous observations and interviews with the artists themselves and with representatives of institutions across the world which are setting up standards, analysis of obstacles to the implementation of activities in public space and more) which the author converts first in comparison of two cities - Prague in the first place, and London with a model approach to artistic activities in public space in the second, and than in a series of specific recommendations for the creation of a standard, strategy and related legislation leading to the implementation of measures related to the topic of this diploma thesis within the capital city of Prague. The author works on the assumption that performing arts do belong to the public space, as they have the potential to improve the quality of life, to educate the people and substantially increase their creativity, to develop the potential of sites, to reduce crime, to generate economic multiplication and more.

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A partir de dez grafiteiros e de imagens de suas produções procura-se dialogar com parâmetros de legibilidade, inserção dessa manifestação artística no espaço público, ligação com a tipografia experimental e com a caligafia artística. / Salvador

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-08-18Bitstream added on 2014-06-13T19:48:51Z : No. of bitstreams: 1 oliveira_aa_me_ia.pdf: 8322984 bytes, checksum: cfb2c4082d0e6ee22fb0782d9a1bd831 (MD5) / Esse trabalho enfoca algumas modificações arquitetônicas/ urbanas ocorridas em Ouro Preto a partir de meados do século XX, usando como principais fontes visuais as fotografias de Luiz Fontana (1897- 1968), fotógrafo ouro-pretano atuante na cidade entre as décadas de 1930 a 1960. O objetivo do trabalho é contribuir com as discussões sobre a preservação de Ouro Preto e valorizar a documentação fotográfica de Luiz Fontana, fundamental para o estudo das transformações do espaço urbano de Ouro Preto no século XX . O crescimento de Ouro Preto nas últimas décadas tem colocado em risco seu patrimônio e a funcionalidade da cidade que tem um traçado urbano sui generis: a topografia acidentada como cenário de formas arquitetônicas de diferentes estilos. Ouro Preto é um monumento da arte pública brasileira. Um documento vivo da existência de múltiplas temporalidades, com a historicidade de sua arquitetura iluminando vivências individuais e coletivas. Primeira cidade brasileira considerada como Monumento Nacional em 1933 e depois, em 1980, Patrimônio Cultural da Humanidade, Ouro Preto é a síntese da ação do poder público em relação à política patrimonial no Brasil e também de seus desafios. / This study focuses on some architectonic, urban modifications which occurred in Ouro Preto starting in the mid-twentieth century. The main visual sources used were the photographs of Luiz Fontana (1897-1968), who was born in Ouro Preto and photographed between 1930 and 1960. The aim is to contribute to the discussions on the preservation of Ouro Preto and highlight Luiz Fontanaþs photographic documentation, which is fundamental to the study of the urban space transformations the city underwent in the twentieth century. Ouro Preto's growth over the last decades has put at risk the patrimony and functionality of this city, with its unique urban design: the uneven topography as a scenario of architectonic forms of different styles. Ouro Preto is a monument of Brazilin public art and a living document of the existence of its architecture, illuminating individual and collective experiences. As the first Brazilian city considered to be a National Monument in 1933 and a Cultural Patrimony of Humanity in 1980, Ouro Preto is a synthesis of the action of government power in respect to its patrimonial policy in Brazil and also the challenges involved in preserving this patrimony.

Made available in DSpace on 2016-12-08T16:19:03Z (GMT). No. of bitstreams: 1 Marcelo.pdf: 13776344 bytes, checksum: e06bb1dec7178d2ed55fa2ee66bad8bf (MD5) Previous issue date: 2008-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present of the public art is embodied by a proliferation of projects that points to collaborative practices where the roles of the artist, the spectator and the work are modified. In these projects open processes of conversations are initiated or intensified, making efforts in expanding time and space experiences and that provide room for exchanges and contamination among the people involved. Thus, the debate is not centered exclusively in the objects that are constructed, but in the ones involved and how these processes are elaborated. In this line of thought, the objective of this work is to realize considerations about the theme, approaching the experience of creating a community radio in the district of Monte Cristo, located between the cities of Florianópolis and São José (Santa Catarina). This experience was constituted of actions realized by the dwellers of the community (specially the communities of Chico Mendes and Novo Horizonte) and activists of different areas (arts, education and alternative communication), in the construction of a community radio. Directly connected in this process there were a series of actions realized with the young people of the two communities above developed mainly during media‐education workshops / O presente da arte pública está embebido por uma proliferação de projetos que apontam para práticas colaborativas onde os papéis de artista, público e obra são modificados. Nestes projetos são iniciados, ou intensificados, processos abertos de diálogo, concentrando esforços na dilatação do tempo e espaço de experiências o que viabiliza espaços de troca e contaminação entre os envolvidos. Desta forma, o debate que se coloca não está centrado exclusivamente nos objetos que são construídos, mas sim em quem é envolvido e como tais processos são mediados. Fundamentado por esta linha de pensamento, o objetivo deste trabalho é realizar considerações sobre o tema, abordando a experiência de criação de uma rádio comunitária no bairro Monte Cristo, localizado nos limites entre os municípios de Florianópolis e São José (SC). Tal experiência se constituiu pelas ações realizadas por moradores do bairro (principalmente da comunidade Chico Mendes e Novo Horizonte) e ativistas de diferentes áreas de conhecimento (arte, educação não‐formal e comunicação alternativa), na construção da rádio comunitária. Diretamente conectado neste processo, também está o conjunto de ações realizadas com jovens das duas comunidades supracitadas, desenvolvidas, principalmente, durante oficinas de mídia‐educação