The article explores various types of public art that have been known for several decades throughout the history of mankind. Nonetheless, the most important inquiry that art enthusiasts should ask themselves is whether they understand the meaning and implications of public art. After going through the readings, it is evident that public art cannot be categorized as an art “form”. The four classifications of public art namely site-dominant, site-adjusted, site-specific and site-conditioned are indeed unique on their own even though they do not depict art “form” (Knight 28).
The description of size when it comes to public art is also evidently absent. This implies that public art can either be small or large. In addition, both a realistic and abstract shape can be used to denote the outline of any type of public art.
It is also interesting to mention that painting, assembling, building, carving and casting can be used to construct an abstract or real shape of any type of public art. Hence, the unique association on how public art is constructed is the main distinguishing factor irrespective of the category or classification of the art form.
Location is yet another crucial parameter that can be used to create a clear distinction between public art and other forms of art. It is not surprising that the site-specific art is largely concerned with location. The site of the art must be put into consideration whenever exploring the aspect of site-specific art. Additionally, the hidden meaning portrayed by the type of art in question is a major consideration in any category of public art.
Our assumptions can be questioned by any type of public art. Heightening our awareness is also another pertinent function performed by public art. For example, there has been rapid development in the desire to understand and interpret the meaning and content of different types of public art. Needless to say, our comprehension of various forms of public art have been minimized to terrestrial dimensions (Knight 28). Landscape transformation, environmental upgrade and expressing community values are also some of the key positive attributes of public art.
Literary speaking, each of the four types of public art should be readily accessible to members of the public. In other words, it is not correct to classify a piece of art as “public” when it is out of bounds for members of the public. Every individual should be in a position to view public art.
Perhaps, the development of private institutions that elevate art creations has led to inaccessibility of some types of public art. Private art centers are run for economic reasons. Hence, public art cannot be openly viewed unless they are paid for upfront (Stiles and Selz 59). Another interesting aspect of public art as can be learned from the four classifications is that it represents a collective community expression. Since we see the world differently from various perspectives, all of us can indeed fit within the four categories.
It is also vital to understand the term “public” when it comes to the propositions of public art. We should not anticipate that every single person can be fascinated by the four types of public art. In any case, it is not possible to impress everybody with the elements of art (Stiles and Selz 59). Any form of art should have the potential to attract the attention of the targeted audience. The latter is the main purpose or function of art.
As much as we may argue that public art appeals to the general members of the public, some controversies equally exist. It is inevitable to miss variable public opinion. Better still, differences in public opinion is also a healthy scenario because it indicates acknowledgement of art in general. Artist who come up with public art also obtain the chance to interact between themselves and with members of the public. When members of the community are variedly involved in the growth, development and enhancement of public art, it promotes cohesion.
Our collective memory is sharply evoked through the various types of public art. In the case of site-dominant art, several classical tenets are remarkably embodied. In other words, our evolving culture can be vividly demonstrated through public history and public art (Stiles and Selz 59).
Our cities gain a lot of meaning when public art is used to exemplify the nature of humanity. To a large extent, public art can remain relevant if the concerned artist respond according to the changing historical eras. How can their inner vision be understood or known by the outside world if they are unable to paint the right picture? Our experiences as members of a unified society should be clearly replicated in the various forms of public art (Knight 28).
On a final note, public art should be used as a viable tool for highlighting the chronicle of experiences that society goes through on a daily basis. The inner and underlying thoughts of artists should indeed be replicated on their pieces of art even if they are not meant to be displayed in public. In fact, the role played by art or the significance of art in human history cannot be overstated here. Art remains to be the epitome of cultural evolution through different historical periods.
Works Cited
Knight, Krause. Public Art: theory, practice and populism. Oxford: Blackwell Publishing, 2008. Print.
Stiles, Kristine and Peter, Selz. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. New York: University of California Press, 2012. Print.