What do THEY make of it?

Jenny Holzer shared some thoughts with Tamara Winikoff during Artist's Week in Adelaide in March 1998 about her relationship with the public, who over the years and in various countries, has been the audience for her artworks in the public arena.

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The Public Interest: Is There Any?

"Living a few hundred metres away from a community arts project has clarified my doubts about the standard and the value of such projects and what they achieve for their supposed audience." Peers explores the current issues facing the production of community and public art looking at 'The Bridge, Construction in Process' an event and exhibition which took place in Melbourne over March- April 1998.

Juliette Peers

Percent for Art in the West

The Percent for Art Scheme in Western Australia uses an allocation of a percentage of the construction cost, usually one percent, of State Capital Works projects to commission artworks. The artist's role is to create works that are integrated with the building or the landscape.

Andra Kins

Politics/Poetics: Reflections Documenta

'documenta X' curated by Catherine David from France, opened in Kassel Germany on 21 June 1997 and ran for 100 days. This colossal international event could not be simply understood as an art exhibition and it defied many of the expected ingredients of large scale block busters.

Anne Kirker

Getting up to Speed in Queensland: The Learning Curve Levels Off

The Queenslanders Art Alliance was established in 1986, maintaining an artist register as well as project management programs collaborating with the Queensland government in the 'Designing Environments' strategy which is intended to consolidate the quality of the collaborative process in public art projects. Looks at the Kangaroo Cliffs Boardwalk project.

Ian Friend

City Provoked: These Questions and More....

RMIT project 'City Provoked' asked questions about the nature of public art emphasising 'new genre public art' - flexibility and responsiveness, specificity and topicality, innovation, challenge, engagement, unregulated encounter. collaboration, temporality and process rather than closure.

Virginia Fraser

The Enduring Moment

It is arguable that temporary public art is a more valid response to the transitory, dynamic and complex nature of the city and public life, more available to be critical and exploratory, than its permanent counterpart.

Catherine Murphy

The Vision not so Splendid

Prominent gallerist Paul Greenaway and influential educator Pamela J Zeplin speculated recently about the depths to which confidence in the management of Adelaide's Public Domain has sunk. Who is to blame for the rash of mediocrity -- consultants, governments, artists themselves. Interview.

Pamela Zeplin

1998 Adelaide Festival Visual Arts Program

Review of the 1998 Adelaide Festival Visual Arts Program February - March 1998

Cath Kenneally

Good or Bad Idea: The Community as Public Art Practitioner

If art in community places isn't for the community using those places, then who is it for? Should all art in public places have immediate community appeal, or reflect those communities in some way, or even have community contributions? And if the answer to any of these is yes, need this impinge on the quality of the art?

Maggie Baxter

How the 'Art in Public Places' Debate Shackles Creative Genius

Buckle your seatbelts for a wild, multi-disciplinary ride to explore why all urban space is art... why every individual entering public space is an artist.... how the design of public space either feeds or inhibits this artist.... how professional artists involved in the production of 'public art' should therefore respond.

David Engwicht

Contemporary Art in Asia: Traditions/Tensions

Exhibition Review Contemporary Art in Asia: Traditions/Tensions Organised by the Asia Society New York Art Gallery of Western Australia 6 February - 29 March 1998

Michael O'Ferrall

A Moment of Reflection

Public Art, the Art for Public Places (APP) program, models for commissions and the matter of percent for art in South Australia. "Processes of development can be as important as the final products when trying to stimulate the field of public art."

Janice Lally

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