Published 30 March 2022
The status quo of moral rights of artists in Australia today in respect of site specific works.
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."
Published June 1998
Book review Public Art Practical Guidelines
Authors Pip Sawyer, Malcolm McGregor, Robyn Taylor
Published by the Ministry for Culture and the Arts
$40.00 + $5.00 p&h from the
Artists Foundation of WA
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.
In a city with so many cultural institutions focused upon the national agenda, the new Canberra Museum and Gallery is a significant symbol of the ACTs (Australian Capital Territory) increasing confidence in a local identity, interdependent with its national role.
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.
Exhibtion Review Coming Round the Mountain: Excursive Sight
Centre for the Arts University of Tasmania Hobart
17 January - 1 February 1998
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.
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?
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.
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.
Looks at issues of the law and public art with references to Richard Serra's 'Sculpture No.3' and Christo's 'The Umbrellas: a joing project for Japan and USA'.
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.