This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Whilst most writing about public art has focused on the aesthetic, cultural and political intentions and processes that shape its production, this edited collection examines a variety of public artworks from the perspective of their actual everyday use. Contributors are interested in the rich diversity of peoples’ engagements with public artworks across various spatial and temporal scales, encounters which do not limit themselves to the representational aspects of the art, and which are not necessarily as the artist, curator or sponsor intended. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art and media installations.

"A Twentieth Century Fund essay." Includes bibliographical references and index.

A brief intellectual history of the idea of the art public. The Art Public explores the history of efforts to imagine a collective, general audience for art in the world. Oskar Bätschmann explores both written and pictorial evidence of the development of the “art public” as an idea and disentangles connections between art production, audiences, and actual reception. Two aspects shape the narrative: the transformation of the audience from passive recipient to active agent as well as satirical jabs at audiences by the likes of Cruikshank, Rowlandson, and Daumier. This sweeping account connects the ancient Greeks with Renaissance painters, modern writers, and contemporary movie stars in a deft survey of the ways we imagine art’s immediate impact on audiences and its afterlives in museums, galleries, and the world.

Acclaimed African American scholar and teacher educator Gloria Ladson-Billings examines the field of teacher education through the accomplishments and contributions of well-known African American teacher educators—Lisa Delpit, Carl Grant, Jacqueline Jordan Irvine, Geneva Gay, Cherry McGee Banks, William Tate, and Joyce King. Using in-depth interviews and storytelling, Ladson-Billings depicts deeply personal portraits of these scholars’ experiences to confront race and racism, not only theoretically, but within their everyday professional lives in “the Big House” of the academy. Ladson-Billings gives these portraits even greater resonance and meaning by pairing these teacher educators with historical figures—such as Harriet Tubman, Nat Turner, and Charlotte Forten—whose contributions to the struggle for social justice are a wellspring of hope and courage to all educators, and a tribute to African Americans whose political, scientific, and spiritual efforts made life better for us all. This compelling book is important reading for all educators who want to transform teacher education for the better. “The American Association of Colleges for Teacher Education is enthused and excited about Ladson-Billings’s dynamic and provoking scholarship. Its focus on outstanding African American teacher educators is a major contribution to teacher education literature. This cutting-edge research is likely to prompt some of the best of unconventional teacher education thought.” —David G. Imig, President and CEO, American Association of Colleges for Teacher Education “In this moving and original book, Gloria Ladson-Billings offers complex insights about the politics of scholarship, the experiences of scholars of color in universities, and the larger enterprise of teaching and teacher education for social justice.” —Marilyn Cochran-Smith, Lynch School of Education, Boston College and President of the American Educational Research Association (AERA) for 2004–05.

Foreword -- Introduction to the research handbook on art and law / Jani McCutcheon and Fiona McGaughey -- Part I: Copyright's rights in art -- 1. Making art from words: the picturisation adaptation right in copyright law / Jani McCutcheon -- 2. The fine art of rummaging: successors and the life cycle of copyright / Eva E Subotnik -- Part II: Copyright's regulation of art -- 3. Regulating the artist: laws, norms and practices / Chris Dent -- 4. Copying artistic works: copyright, aesthetics, and artistic practice / Jonathan Barrett -- 5. The prince and the president's daughter: a tale of copyright and contemporary art / Julian R Murphy and Nicholas Modrzewski -- Part III: The outer boundaries of art in law -- 6. The curator's copyright / Alana Kushnir -- 7. Patentability and fine art / Michael Blakeney -- 8. Untangling copyright and trade marks in art and advertising / Amanda Scardamaglia -- 9. Demystifying colour regulation in art -- protecting substances, appearances and beyond / Ema Denby, Paul Green-Armytage and Jani McCutcheon -- Part IV: Regulating 'bad' art -- 10. Preventing art forgery and fraud through emerging technology: application of a regulatory pluralism model / Jade Lindley -- 11. The effectiveness of Australia's legal system in addressing problematic artwork / Dan Mossenson -- Part V: Art, law and the public interest -- 12. Preserving street art and graffiti: can the law reconcile the (often conflicting) rights of artists, property owners and local communities? / Enrico Bonadio -- 13. Classifying art in diverse legal regimes: the function-aesthetic divide and the public interest / Marta Iljadica -- Part VI: Art critiquing or girding legal systems -- 14. The exorcist: law's crimes and art's super powers / Desmond Manderson -- 15. Lady injustice: inequality and legal iconography / Ben Wardle -- Part VII: Law in art -- 16. Intellectual property law as artistic medium / Shane Burke -- 17. On the nullians / Jani McCutcheon -- 18. Thinking through seeing: legal minds and images / Ruth Herz -- Part VIIi multiplicity of interpretations -- 19. The public good in poetic justice: on the art (and law) of Felix Gonzalez-Torres / Sonia K Katyal -- 20. The decommission Of i see red : a case study in the relations between art and law / Lee Harrop and Nicolas J Bullot -- Part IX: Art, law, violence and crime -- 21. A law unto themselves: murals in the northern Ireland conflict / Fiona McGaughey -- 22. Breaking the frame: abortion under arrest in contemporary visual art? / Natalie Linda Jones -- 23. The artist turned criminal: emotional obstacles to severing the body from the body of work / Gregory Dale -- Part X: art in international law -- 24. Art and human rights law / Sarah Joseph -- 25. Image and art in the whaling in the antarctic case / Alice Palmer -- Index.

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.

In this book, Johnston seeks to put the public interest onto the public relations ‘radar’, arguing the need for its clear articulation into mainstream public relations discourse. This book examines literature from a range of fields and disciplines to develop a clearer understanding of the concept, and then considers this within the theory and practice of public relations. The book’s themes include the role of language and discourse in establishing successful public interest PR and in perpetuating power imbalances; intersections between CSR, governance, law and the public interest; and how activism and social media have invigorated community control of the public interest. Chapters explore the role of the public interest, including cross-cultural and multicultural challenges, community and internal consultation, communication choices and listening to minorities and subaltern publics.