Monuments and Site-Specific Sculpture in Urban and Rural Space presents a collection of essays discussing works of art whose formal qualities, content and spatial interactions expand our idea of creation and commemoration. By addressing projects that range from war memorials to commemorations of individuals, as well as works that engage real and virtual environments, this book brings to light new aspects concerning twentieth and twenty-first century monuments and site-specific sculpture. The book addresses the work of, among others, Günter Demnig, Michael Heizer, Thomas Hirschhorn, Dani Karavan, Costantino Nivola, Melissa Shiff and John Craig Freeman, Robert Smithson, and Micha Ullman. A lucid, thought-provoking discussion of creative processes and the discourse between site-specific sculpture and its publics is provided in this collection. As such, it is vital and indispensable for historians, art historians and artists, as well as for every reader interested in the interrelations of art, urban and rural spaces, community and the makings of memory.

A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

" Art & Place is an extraordinary collection of site–specific art in the Americas. Featuring hundreds of powerful art works in 60 cities – from Albuquerque to Boston and Baja to Rio de Janeiro – the book is both an informative guide and a virtual bucket list of outstanding art destinations. Conceived and developed by Phaidon editors, Art & Place covers carving, painting, murals, frescos, earthworks, land art, and more. Each of the works has a dedicated entry pairing gorgeous, large‐format images with in‐depth descriptions. Maps pinpoint the sites’ locations while specially commissioned plans reveal some of the more complex layouts. The book is organized geographically, offering fresh juxtapositions among familiar art works, such as Anish Kapoor’s Cloud Gate and Robert Smithson’s Spiral Jetty, alongside lesser-known revelations, such as Inhotim Centro de Arte Contemporânea in Brazil. Whether in the mountains, at the heart of a city, or on a remote island, the works in Art & Place are all inextricably linked with their environment. This is art to experience in an immersive way, presented together in a single book for the first time. "

Site-Specific Art charts the development of an experimental art form in an experimental way. Nick Kaye traces the fascinating historical antecedents of today's installation and performance art, while also assembling a unique documentation of contemporary practice around the world. The book is divided into individual analyses of the themes of space, materials, site, and frames. These are interspersed by specially commissioned documentary artwork from some of the world's foremost practitioners and artists working today. This interweaving of critique and creativity has never been achieved on this scale before. Site-Specific Art investigates the relationship of architectural theory to an understanding of contemporary site related art and performance, and rigorously questions how such works can be documented. The artistic processes involved are demonstrated through entirely new primary articles from: * Meredith Monk * Station House Opera * Brith Gof * Forced Entertainment. This volume is an astonishing contribution to debates around experimental cross-arts practice.

From Ferdinand Chevel's Palais Ideal (1879-1905) and Simon Rodia's Watts Towers (1921-1954) to Ant Farm's Cadillac Ranch (1974) and Richard Serra's Tilted Arc (1981), installation art has continually crossed boundaries, encompassing sculpture, architecture, performance, and visual art. Although unique in its power to transform both the site in which a work is constructed and the viewer's experience of being in a place, installation art has not received the critical attention accorded other art forms. In Space, Site, Intervention, some of today's most prominent art critics, curators, and artists view installation art as a diverse, multifaceted, and international art form that challenges institutional assumptions and narrow conceptual frameworks. The contributors discuss installation in relation to the genealogy of modern art, community and corporate space, multimedia cyberspace, public and private ritual, the gallery and the museum, public and private patronage, and political action. This ambitious volume focuses on issues of class, sexuality, cultural identity rase, and gender, and highlights a wide range of artists whose work is often marginalized by mainstream art history and criticism. Together, the essays in Space, Site, Intervention investigate how installation resonates within modern culture and society, as well as its ongoing influence on contemporary visual culture.

The natural setting is breathtakingly beautiful, but the artistic expression that is the campus - the combination of art and architecture - makes this a true jewel in a magnificant setting.".

What do the London Science Museum, California Shakespeare Theater, and ShaNaNa have in common? They are all fighting for relevance in an often indifferent world. The Art of Relevance is your guide to mattering more to more people. You'll find inspiring examples, rags-to-relevance case studies, research-based frameworks, and practical advice on how your work can be more vital to your community. Whether you work in museums or libraries, parks or theaters, churches or afterschool programs, relevance can work for you. Break through shallow connection. Unlock meaning for yourself and others. Find true relevance and shine.

This practical based research explores space, sites and interventions; in particular, site-specific installation of art works, involving the physical, virtual space and interactive theatre space within new media art.

The rock art sites of the Tadrart Acacus in southwestern Libya were inscribed on the UNESCO World Heritage List in 1985, largely owing to the activities started in 1955 by Fabrizio Mori, founder of the Libyan-Italian Mission in the Tadrart Acacus and Messak. Since the beginning, the Department of Antiquities of Tripoli and Sebha, Libya, and Sapienza University of Rome, Italy, have worked in the region nearly without interruption until 2011. This book presents the archive of the rock art sites, identified and recorded by the Italian Mission and by independent scholars, as described and critically assessed by the authors within the framework of the ASArt-DATA project (the European Union’s Horizon 2020 research and innovation programme). The contributions introducing the catalogue contextualize the environmental, archaeological, and cultural aspects of the engravings and paintings. They include chapters addressing the historical, cultural, and diplomatic issues involved in the long-term bilateral scientific cooperation.

In the first book of its kind, art information expert Lois Swan Jones discusses how to locate visual and textual information on the Internet and how to evaluate and supplement that information with material from other formats--print sources, CD-ROMS, documentary videos, and microfiche sets--to produce excellent research results. The book is divided into three sections: Basic Information Formats; Types of Websites and How to Find Them; and How to Use Web Information. Jones discusses the strengths and limitations of Websites; scholarly and basic information resources are noted; and search strategies for finding pertinent Websites are included. Art Information and the Internet also discusses research methodology for studying art-historical styles, artists working in various media, individual works of art, and non-Western cultures--as well as art education, writing about art, problems of copyright, and issues concerning the buying and selling of art. This title will be periodically updated.