Analysis Of Patrick Frank's Essay 'Public Art'

Art galleries are essential to the art world, however, is not the only source for audiences to view art. To begin with, art and artwork is defined as the application of human skill, creativity and imagination. Taking this into consideration, individuals need to examine the nature and purpose of art galleries as a facility to collaborate, organize and display a collection of artworks. As art however, is any expression of human creativity, its presence is not bound to art galleries and is evidently present in the world around us be it in photographs, the internet or even in graffiti.

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Though World War II was awful in every respect, and it led to the destruction of many priceless works of art, there are some examples of beauty emerging form the chaos. One such example come from the work Dean Keller. Keller was one of many “monuments men” who were given the daunting task of the preservation of art during the war. The monuments men had little resources yet they prevailed in their efforts of protecting much of the art at risk during the war. The thought that the allies had the forethought to take earnest efforts to respect the history and culture that comes from these great European works of art, is a glimpse of the beauty that emerged during this time of turmoil. At the end of the war, Dean Keller led the Americans in returning the art they had gathered for protection. This was received by great crowds of emotional Florentine’s grateful for the return of their stolen history. This scene of compassion and gratitude

For my research I visited the memorial for the victims and heroes of 911. The location for this grand and majestic art piece is in downtown Toms River. “Wow, the art I discovered was just so beautiful.” On a cold December morning in 2015 I took a short ride to Downtown Toms River. As soon as I pulled

     Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her

The website archdaily provides information on the architecture of the Munson- Williams-Proctor Art Institute. In Denim Pascucci’s article AD Classics: Munson- Williams- Proctor Arts Institute / Philip Johnson it is stated that the Munson-Williams-Proctor Art Institute was designed by architect Philip Johnson. This was Philip Johnson’s first ever museum. In the late 1950’s he would design two other free-standing museums. The other two are the Amon Carter Museum of Western Art (now American Art), and the Sheldon Memorial Art Gallery (now Museum of Art) at the University of Nebraska. The Munson-Williams-Proctor Museum of Art, was completed in 1960. The building has a windowless perfect-square design with gallery rooms situated around a central

The Dallas Museum is a renowned art museum established in 1903 and is located in Dallas, Texas (Neumann et al. 19). The Dallas Museum of art is one of the largest art museums in the United States of America containing more than 24,000 collections of art ranging from the ancient to the modern ones (MacDonald & Brettell 112). There are numerous things inside the museum, such as the pieces of art, museum visitors, and the architecture, that relate to the understanding of the world outside the museum in terms of the day to day life and the human society. My goal in this essay is to think outside the box and describe the observations I made inside the museum and explain how they relate to my everyday life, the wider world, or the human society.

The artist and architect Maya Lin entered public life at age 21, sparking waves of controversy in 1981 when she won a competition for the design of the Monument for the Veterans of the Vietnam War in Washington (Artist/Architect Maya Lin: Creating Epic, Earth-Friendly Designs | IIP Digital, 2016). Although her design, unconventional and dramatic, a wall of black granite in the shape of the letter V, with engravings of US soldiers’ names who were killed, was criticized by some veterans, currently the monument by Lin is regarded as one of the most dynamic and iconic monuments in the United States (Langmead, 2011). Despite this, Lin's name will be forever linked with that elegant and neat masterpiece, she designed while still a student of architecture at Yale University, her career, and her interests are much more ambitious. This paper discusses the biography of a famous artist Maya Lin by describing her career path and her major achievements throughout her lifetime.

The Vietnam Veterans Memorial essay argues for a reading of the Vietnam Veterans Memorial as a postmodern discourse. The authors suggest that the Memorial reflects the typical gestures of postmodern architecture. "People have cried at the wall, prayed there, screamed in anger and in pain, found friends and comforted strangers.” This quote is very toughing. I can’t imagine the pain the family members felt when they saw their love one’s name. But at the same time seeing the names of their family remembers of their heroes. The authors go on talking about the architectural art form of the Vietnam Veterans Memorial. They say technology progress would constitute the aesthetic and provide the solution to social ills. "When people find . . . the

The cutting edge of the public art development, connected with the hip-hop society of breakdancing and rap music, began with African-American and Latino teenagers in Philadelphia and New York in the late 1960s (MacDonald 1). At that time graffiti to most, was considered to be a form of art work. Regardless of those that thought of it as art, there were and are still numerous individuals that loathe the graffiti movement. Works of art have been dependably charming for ages, as it is a method for self-expression and inventiveness. Artistic expressions have advanced in many ways, such as public canvases offering an approach to modern day unique artwork. Graffiti is progressively turning into a hobby. Although one of the major controversies of graffiti surround the statement that it is not art and considered vandalism, graffiti allow artists to display grateful meanings, skills and expressions to the public.

American art, and its countless mediums, evolved equally with the capitalist country. This is a visual medium and a form of self-expression, where an artists is free to turn a canvas into anything he or she would like. They are not bound by grammar, words or other aspects of written communication and could freely As the old saying goes, "A picture is worth a thousand words”; and in America, their work served as mirrors of the social and political climate. The many painters, architects, and photographers themselves could be considered the archivists that shaped the “all-American” identity.

In the article, Public Art and Street Art, by Patrick Frank, the author, talks about the idea and meaning behind public art.

To fully understand street art as a concept in itself, it is vital to explore why the art is made on, and for, the street. According to Chung (2009) art on the street “allows artists a platform to reach a broader audience than traditional art forms”. This is supported by Young (2016) who argues that the “street is the biggest gallery you could ever want”, the author goes on to note that often a “galleries audience is self-selecting and homogenous”- belonging in an “elitist art world”. This implies that unlike classical art in galleries, street art cannot discriminate and is open and available to everyone despite their background or beliefs. Not only does the street allow the art to be widely seen, its accessibility indicates the ideas of

In her speech “How art gives shape to cultural change” (2009) Thelma Gordon, a curator of art for Studio Museum in Harlem and the Whitney Museum, provides insight into how curators, art, artist and museums are catalyst for culture and change. Her speech guides viewer through her exhibitions and events in history that resulted in the rewriting of history and personal growth. She studied art and artist at a time when museums included fewer people of color and is an advocate for cross-culture dialogues, creativity, innovation, and defining culture through exhibitions. She believes in using art and the museums to change the way people think about themselves and culture and realizes the effect art has on people internationally and in a community.

time to visit museums. When public art is funded by the government, the artist’s imagination is