Public art ‘humanizes’ cities

Civil art humanize places, expresses identity lecturer at NDMOA says
March 14 With nearly 100 colorful varying images, public art expert Jack Becker engaged an audience at the North Dakota Museum of Art Thursday night, hoping to inspire ideas for 42nd Street South and other parts of Grand Forks.
Becker, founder and director of the Twin Cities nonprofit Forecast Public Art, was invited by NDMOA and the Community Foundation to speak to Grand Forks community members about public art, with the hope that his experience and art examples would spark ideas for the proposed 42nd Street Destination Corridor.
"This is just for inspiration," said Kristi Mishler, executive director of the Community Foundation.
An audience of about 50 people -- including city employees, UND employees and other community members -- took in Becker's presentation, which had many examples of public art from around the Midwest, as well as nationally and internationally.
Familiar examples he showed ranged from monumental, like the Gateway Arch in St. Louis and the Eiffel Tower in Paris, to closer to home, like Paul Bunyan and Babe in Bemidji.
Those sculptures are examples of communities becoming identifiable by their public art, Becker said.
Public art "humanizes" cities, Becker said. He showed some examples of interactive sculptures, where people could write notes or take photos to share on social media.
One example of interactive artwork that Becker shared was a giant chalkboard in New Orleans, where people passing by were asked to write what they wanted to do before they die.
Another was a light-up art installment at a movie theater in Minnesota, where the lights changed colors depending on where people touched a railing surrounding the art.
"Public art should not be underestimated for what it can do for communities," Becker said.
When considering public art, on 42nd Street or elsewhere, he said, Grand Forks should ask: "What's the goal for the city? What's the big plan for the city? And how can public art reinforce that?"
During a question-and-answer after the presentation, Mishler asked about who maintains public art and who generally pays for it.
Thousands of communities -- ranging from big cities to small towns -- have figured out funding for large-scale public art projects, Becker said, and he mentioned some examples of funding models.
But before anything can be figured out, local leaders should frame their goals for the project, he said.
"For art on 42nd Street, answer the question, 'What would success look like?'" he said.
Credit: Grand Forks Herald
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Haley, C. (2014, Mar 14). Civil art 'humanizes' places, expresses identity, lecturer at NDMOA says. McClatchy - Tribune Business News Retrieved from http://search.proquest.com/docview/1507232112?accountid=45844
 
 
#2.Many cultures we studied over the past four lessons have specific architecture or artwork that are specific to them and are identified with them in some way.  For instance, the Nankani Compound in Ghana, Michelangelo- “David” in Florence, Italy, the Eiffel Tower in Paris, and the Taj Mahal in India are examples from the textbook. Choose two of these examples, and explain the reason the art or architecture was created, how each reflects the community, and how each reflects civic pride or community identity.
 


 
Part B
 
#1.Analyze the development of the skyscraper, beginning with the Chicago School in 1884, continuing with the construction of the Woolworth Building in New York in 1911-1913, and concluding with the Seagram Building in New York City in 1954-1958. Include in your analysis the use of materials and ideas of aesthetics. Your analysis should demonstrate a strong understanding of the material, synthesizing what you learned in the readings, and be written in your own words.
 
 
#2.In addition to commercial architecture, many architects of the 20th century were commissioned to design private homes. Explain the circumstances that led to the creation of Fallingwater in 1937 by Frank Lloyd Wright and the Vanna Venturi House in 1961-1964 by Robert Venturi. Relate how physical context or location is related to their design.