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"Public sculpture"
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Sculptures of Jeddah : twentieth-century sculpture in the Arabian Peninsula
When Mohamed Said Farsi became Mayor of Jeddah in 1972, at a pivotal moment in the Saudi Arabian city's history, he set himself the task of not only creating a modern city, but also to include in the concept a plan for public art. Works were commissioned from world famous artists in a variety of media, including bronze, steel, concrete, marble and stone. Other sculptures were made by artists of the region from historical artifacts and recycled scrap metal, some from cars and planes. This book allows the world a glimpse into a city not easily visited and shows Saudi Arabia as a place of vision and innovation in the arts. Jeddah has grown since 1972 and now, in 2013, some 24 major pieces are being restored and re sited by the Abdul Latif Jameel Foundation and the Municipality of Jeddah in a new Open Air Museum on the sea front, known as the Corniche. As well as telling the story of the restoration and relocation of the 24 sculptures, this book also examines the history of this transformative moment in Jeddah.
Book
Female Public Sculptures: Visibly Invisible
Monuments and public sculptures embody collective memory, values, and identity. This study analyses the representation of women in public sculptures in Ibarra, Ecuador, and evaluates citizens’ recognition of the historical figures depicted. A mixed-method, cross-sectional design was employed. An urban inventory was conducted (N = 124 sculptures), and questionnaires were administered in situ to 1200 adult residents using non-probability intercept sampling (100 surveys at each of the 12 female monuments). The results reveal a marked disparity: 55.6% of the sculptures represent men, compared with only 9.7% representing women. Recognition is minimal: 98.6% of respondents did not identify the person represented, and 95.1% reported no knowledge of her history. These findings suggest that the underrepresentation of women in public art reflects enduring structural and cultural gender inequalities. The limited presence of female monuments contributes to the erasure of women’s legacy from collective memory and perpetuates the perception of public space as historically male-dominated. Framed within the literature on gender and monuments as devices of social memory, the study advocates for inclusive commemorative policies and interpretive strategies. Limitations include the non-random sampling and single-city scope; future research should expand comparisons across cities and assess potential interventions.
Journal Article
Robert Murray sculpture
Robert Murray grew up in western Canada and moved to New York City in 1960. Quickly establishing himself as an important young artist, he took part in the renaissance of modern sculpture and public art that unfolded over the following decades. Murray was particularly innovative in his use of industrial fabrication methods to create his pieces and in his deep investigation of landscape as inspiration for abstract sculpture. His synthesis of the rich tradition of landscape painting in Canada and the exciting vision of New York abstract expressionist and color-field painters has resulted in an extraordinary and unique body of work.
Book
The Tilted Arc Controversy
Since its installation at and subsequent removal from New York City’s Federal Plaza, noted sculptor Richard Serra’s Tilted Arc has been a touchstone for debates over the role of public art. Installed in 1981, the 10-foot-high, 120-foot-long curved wall of Cor-Ten self-rusting steel instantly became a magnet for criticism. Harriet F. Senie explores the history of Tilted Arc, including its 1979 commission and the heated public hearings that eventually led to its removal in 1989. She examines the tactics of those opposed to the sculpture and the media’s superficial and sensational coverage of the controversy, reframing the dialogue in terms of public art, public space, and public policy.
eBook
Public Art? Examining the Differences between Contemporary Sculpture inside and outside the Art Institution
This text explores three main differences between a sculpture installed within a museum and a sculpture installed in public space. It analyses the institutional framework, the relationship between the viewer and the artwork, the nature of the audience. The authors argue that there are key differences that require correspondingly different ways of understanding, conceiving and making sculptural projects in public space. When installed in public space, art encounters a whole new environment: conventional museum procedures and attitudes are no longer applicable. Sculptures installed in public space lack clear institutional reference points that would confer them the status of art, so they automatically settle in beside other urban objects, in a diffuse and mixed zone. New approaches must be found that take into account the specificities of public space, the local context and the establishing of dialogue with the local community. Moreover, the evaluation of these projects should depart from mere aesthetic considerations and take on board ideas and methodologies from other disciplines. With regards to a broadened, diversified and participatory audience, it would make only sense to involve them as an intrinsic part of a more collaborative notion of sculpture and public art. c art.
Journal Article
The new monuments and the end of man : U.S. sculpture between war and peace, 1945-1975
How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture. In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary. Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.
Book
Making Monuments from Mass Graves in Contemporary Spain
This book narrates how, beginning in 1936, bodies buried in mass graves during the Spanish War and subsequent dictatorship were turned into monuments. The book describes how the production of monuments evolved and what forms this process and these monuments took; it examines how the monuments were incorporated into society and used to influence public opinion; and it argues that this process was not simply based on the formal logic of tradition but instead reflected a conscious plan with a specific and rational end goal. As such, this book puts forward the idea that the monument as a material object became an expression of the historical consciousness of its producers, relating how different actors communicated their memories into meaningful gestures while limited by the material reality of integrating the bodies into a novel artefact. Finally, it contends that the people creating these monuments did not just bury their dead according to a funerary tradition but also sought to influence society.
eBook
Exploitation of copyright in public sculpture: A case of heist
In Frank Gaylord v United States, the US Postal Service issued postage stamps of some soldier sculptures in formation constituting part of the Korean War Veterans Memorial featuring a column of 19 solider sculptures (The Column). The sculptor owner of copyright in The Column sued the US Postal Service; the court found for infringement and awarded the artist a substantial amount of damages ($684,844.94: Gaylord v United States, Case No. 14-5020, Fed. Cir., 4 February 2015). If a similar lawsuit were instituted in the UK, it is questionable if a favourable judgment can be delivered by the English court. Here, Liu discusses English copyright law to see whether this kind of commercial use of public sculpture is permitted and indeed the extent to which the artist is protected in the UK when it comes to work such as public sculpture.
Journal Article