Tilted Arc

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.

Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.

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

The idea of keeping monuments in public spaces is a challenging choice for us all because for those who don’t like the idea of the monuments being removed they can become really violent much so that in the article “Battle Scars”

“Public Art,” written by Patrick Frank, is an essay that claims public art is in everyday life and it satisfies the needs of society. First, Frank discusses the Vietnam Veterans Memorial, designed by Maya Lin, and the significance of the piece of art because it gives comfort to those who visit the monument. Next, Frank presents a humorous piece of art that is found on the rooftop of the Museum of Modern Art; this camouflage rooftop design was developed for office workers who complained about the ugly structure of the previous rooftop. Readers then learn that most of the art found on public buildings is a result of a mandate, which can result in undesirable outcomes; on the other hand, effective products can develop as a result of the mandate.

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.

As an essential part of culture, art is arguably at the core of culture, which naturally leads to the importance of art censorship in America’s Culture Wars. Also, decision for selecting art works which could own fellowship and funding reflected the conflict in politics between different parties and groups. So, the significance of censorship would be questioned and the standard of choosing some outstanding works to receive funds would be attacked in this American Culture war.

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

A display of public art is not a random act of expression encapsulated across a large canvas overnight but a formulated piece of culture for society to witness and experience. Each piece we have seen this semester has embodied the time and effort it takes to not only create a piece of art worth seeing but giving it a story and meaning more powerful than the piece itself. These pieces have given its audience a glimpse into the known, what the cameras and media neglect. Pieces like the To Protect and Serve, Vietnam Memorial, and Bus Poster all go deeper than the surface to deliver a compelling message that outlines a serious issue.

Leon Krier was criticised for publishing a costly monograph on Albert Speer’s architecture (1985)in which, while acknowledging the crimes of the Nazis and the man, Krier nonetheless claimed the book’s only subject and sole justification was “Classical architecture and the passion of building” (cited by Jaskot, ‘Architecture of Oppression’, 2000). Discuss this claim, the controversy and the issues (historical, philosophical and ethical and possibly others) they raise. Can architecture, Classical, Modern or otherwise, be autonomous from politics and valued independently of the circumstances of politics and history that adhere to it?

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

Having never heard of the Tilted Arc, or its artist Richard Serra before this class, I was posed with a question that I had never thought to ponder before. Are artist's rights violated by the removal of their art from a public space when it has at one time in history been approved to be placed there? After careful thought, I believe that whomever owns the art should be able to determine its location and length of display.

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

“How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s ICA engages, not only with the urban citizen, but also the urban landscape in which the site is located. The ICA conveys the idea of architecture as art in itself. As a presenter of art to the urban citizen and because of its open design, the inside allows the citizens to not only appreciate the art within the building but also see the art of the building’s natural environment and setting.