CASE STUDY: Placemaking and Public Art – Makeover Montgomery 4

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Makeover Montgomery 4. Friday, May 11, 2018.

Placemaking and Public Art
This session will focus on integrating public and commemorative art into placemaking and planning processes. Local and federal case studies will be used to explain policy regulations, zoning tools, community engagement methods and partnerships among government agencies, non-profit organizations and private sector developers. A presentation about the Memorials for the Future competition to encourage more inclusive and imaginative commemoration will focus on ways of fostering powerful experiences through public spaces.

CASE STUDY: Visions of Public Art: The Power of Public Art | Anne Pasternak of Creative Time NYC


World Economic Forum

Published on 9 Mar 2015

“Anna Pasternak, President and Artistic Director of Creative Time USA, says artists have the power “to kick open the door to social change.” In this video for the World Economic Forum, Pasternak talks about some of Creative Time’s commissions – from lighting up the New York skyline to shaking the hands of sanitation workers – and how art can help expose and heal social issues. Click on the video to watch the full talk, or read selected quotes below On Creative Time “Creative Time was founded in 1972 in New York City. New York City was at that time in a very bad state, on the verge of bankruptcy and corporations were in a mass exit from New York city. They were moving to the suburbs and to other states. Creative Time’s founders thought that artists could do a lot to create art in the public realm that would animate the city, and that the presence of artists in our neighbourhoods would also contribute significantly to the quality of life in New York City.” “So their rationale for starting Creative Time was very different than the typical public art model of “Heroes on Horseback.” They really believed that public spaces were places for the free exchange of ideas. They thought artists should kick open the door to social change. They believed that artists needed opportunities to experiment, and if they could experiment they would push culture as well as our field forward.” On art as awareness raising “In the more than forty years of Creative Time’s history, all of our projects have been experimental and they’ve been groundbreaking for all of the artists we’ve worked with. Mierle Laderman Ukeles was an abstract painter, but she realised the city was on the verge of bankruptcy and social collapse. She wanted to provide herself as a service for public good, in particular by being artist in residence with the New York City Department of Sanitation. For one year, she went on the garbage collection route of every single sanitation worker in NYC. She shook their hands and thanked them for her work. And that single gesture over a period of a year helped to rebuild a very beleaguered department.” “While all of our projects are experimental, they bring us together in moments of wonder and joy. John Berger said very wisely: “We only see what we look at. To look is an act of choice. More and more artists are really trying to get us to look at things that are important for us to see, so we can really contribute to a wave of cultural understanding around important issues.” On art and healing Some of our projects bring us together to mourn and heal. Creative Time commissioned Tribute in Light – two beacons of light that illuminated New York City six months after the attacks of 9/11, and every year on the anniversary since – to reclaim our city’s skyline and to mourn the lives lost on that day.” “”The artist Paul Chan presented his production of “Waiting for Godot” in New Orleans in the lower 9th ward where the Levy notoriously broke, to remind people of the tragic consequences and the realities on the ground of people in New Orleans, as they were still waiting to return to a home, to identify the bodies of lost loved one, waiting for insurance, waiting for electricity, waiting for water, waiting for their neighbours.”

CASE STUDY: Bridging Home by Do Ho Suh

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Korean artist Do Ho Suh’s replica of a Korean house and surrounding bamboo garden (Bridging Home, London), installed on a footbridge at Wormwood Street in central London, will remain in situ for another 16 months. The sculptural installation, curated by the director of Draf, Fatos Ustek, will remain in place near Liverpool Street Station until March 2020 after the non-profit organisations behind the piece – Art Night and Sculpture in the City – submitted an application to extend planning permission.

Planning permission for the installation extended until 2020
— Read on www.theartnewspaper.com/news/do-ho-suh-house-sculpture-stays-put-in-london-s-square-mile

CASE STUDY: Singing / Musical Roads

How to do it (the NM333 Musical Road in Tijeras, New Mexico playing ‘America the Beautiful’ at 45 MPH – watch above) as opposed to how not to do it (the Avenue K Civic Musical Road in Lancaster, California playing the ‘William Tell Overture’ at 55 MPH badly and out of tune – watch below).

There are four other singing or Musical Roads in the world, all of which use fluctuations in the road (bumps, grooves or rumble strips) to produce sound. They are listed below, along with their track choices:

1. The Asphaltophone, Gylling, Denmark: This, constructed in 1995, was the world’s first musical road. The road doesn’t play a full piece – just a few chord sounds – but it has the best name of the lot.

2. The Melody Roads, Japan (in Hokkaido, Wakayama and Gunma): Each of these short strips of musical road in Japan plays 30 second clips of Japanese ballads. A cluster of giant music notes on the road warns drivers that they’re approaching a singing section.

3. Singing Road, Anyang, South Korea: According to official figures, around 68 per cent of trafffic accidents in South Korea take place because drivers are intattentive or asleep at the wheel. Singing roads both blare noise at drivers and force them to pay attention to keep the melody going, so could act as a solution to this problem. However, South Korea’s singing road plays “Mary had a little Lamb” – probably not the best choice to keep drivers awake at the wheel.

4. Singing Highway, Jelsum, Netherlands: A singing road was installed near the village of Jelsum in Friesland. The Friesland provincial anthem (De Alde Friezen) would play if drivers obeyed the speed limits, otherwise the song would play off-key. After complaints from villagers, the singing road was removed.

CASE STUDY: Freedom of Expression National Monument NYC

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Freedom of Expression National Monument/

“You are cordially invited to step up and speak up,” read the plaque adorning Freedom of Expression National Monument, a public artwork by architect Laurie Hawkinson, performer John Malpede, and visual artist Erika Rothenberg, and presented by Creative Time and Lower Manhattan Cultural Council. From August to November 2004, this enormous red megaphone occupied Foley Square in Lower Manhattan and provided a democratic soap box and public mouthpiece.

CASE STUDY: Clarion Call

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Part of the 14-18 NOW festival Ipswich Spill Festival’s Clarion Call  by Byron J Scullin + Supple Fox uses 100 female voices

A musical “sonic artwork” commemorating the 100th anniversary of the end of the World War One is being heard across a town’s historic waterfront via 488 loudspeakers.Singers whose voices have been recorded include Beth Gibbons of Portishead, Elizabeth Fraser of the Cocteau Twins, local schoolchildren and the Wattisham and RAF Honington military wives choirs.