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A B Acconci Studio, 208 Barry, Judith, 213, 221, 229–233 Advertising, 63–67, 66n9, 66n10, Border Stories, Working Title, From 67n11, 71–75, 78, 80, 83, 85, One Place to Another 87, 88, 90, 93–99, 96n63 (2000), 221 Aitken, Doug, 34, 48–62, 57n69, Barthes, Roland, 54, 55, 57 61n74, 209 Battery Park City, 230, 231, 233 electric earth (1999), 61 BBC Big Screens, 189, 200–204, 206 Mirror (2013), 209 Bell, Robin, 253 Sleepwalkers (2007), 48, 52, Bennett, Jane, 32–34 53, 58, 61 Birnbaum, Dara, 189–191, 193–197, SONG 1 (2012), 34, 49–62, 53n63 199, 200 Ambient television, 196 Rio Videowall (1989), Amusement, 68, 75 189, 193–197 Art on the Marquee, 3, 5, 67, 96 Black Lives Matter, 256, 259, 260 Art Production Fund, 95 Blake, Jeremy, 86, 87 Astrovision, 80, 81, 83, 85n45, 88 BLINK Festival, 119, 139, 167, 168, Augé, Marc, 145 172, 178, 179

1 Note: Page numbers followed by ‘n’ refer to notes.

© The Author(s), under exclusive license to Springer Nature 287 Switzerland AG 2021 A. Dell’Aria, The Moving Image as Public Art, Experimental Film and Artists’ Moving Image, https://doi.org/10.1007/978-3-030-65904-2 288 INDEX

Boston CyberArts, 66–67, 96 Disco foor, 136, 138, 139 Brand, Bill, 34, 36–46, 44n37, Dispositif, 130, 131 44–45n38, 187, 196 Distraction, 64, 65, 65n5 Masstransiscope (1980), 34, 36–46, Doane, Mary Ann, 58, 59 42n26, 61, 62, 187, 196 Doyle, Chris, 92, 94 Brave Berlin, 119, 156–158, 178, 182 Drive-in theater, 197, 198 Bray, Anne, 79n32, 96 Bruno, Giuliana, 32, 37, 51, 55 Business improvement district (BID), E 88–90, 93 Edensor, Tim, 150, 165, 184 Buzz, 132 Enchantment, 5, 6, 9, 11, 13, 20, 25–27, 29, 31–62, 67, 68, 70, 75, 76, 84, 89, 93 C Eppink, Jason, 251 Calle, Sophie, 92 Expanded cinema, 8 Campus, Peter, 103, 130 EXPORT, VALIE, 103, 104 Canopies, 139–141 Carbonneau, Tiffany, 169–171 Something Worth Remembering F (2018), 169, 170 Fernández, Teresita, 39 Today, Tomorrow (2019), 171 Festivals, 147, 150–158, 160–166, Cinerama, 58, 59 171, 173–176, 175n86, Commons, 78, 84 180–182, 184–186 Connolly, Maeve, 228 Fête des lumières, 153, 154, 161 COVID-19, 255, 257n3, 258 The 59th Minute, 85–89, 91, 92 Creative City, 148, 150, 154, 156, Film theory, 13 159, 160, 186 Finch, Spencer, 219 Creative Time, 72, 76n26, 78, Flâneur, 23 85–88, 85n45 Florida, Richard, 142, 148 Criqui, Alex, 260, 261 Flow, 190, 193, 202 Flux, 193, 195–197, 200, 202 Foster & Flux, 157, 167, 168 D Fountains, 105, 108–115, 117, Dandridge, Logan, 161–162 138, 139 Dérive, 181, 182 Friedberg, Anne, 213, 214 Détournement, 213, 250–254 Future city, 154–163, 185–186 Dickson, Jane, 72, 72n22, 73, 76, 77 Let Them Eat Cake (1982), 76 Dietz, Steve, 160, 160n54, 184 G Digital canvas, 204–210 Galloway, Kit, 223, 224, 226 Diller Scofdio + Renfro Hole in Space (1980), 223, Facsimile (2004), 216, 217, 219 224, 226 Jump Cuts (1996), 215–217, 219 Gerrard, John, 222–224 INDEX 289

Oil Stick Work (Angelo Martinez / Indianapolis, 189, 204, 204n41, Richfeld, Kansas) (2008), 222 206, 208 Solar Reserve (Tonopah, Nevada) InLight, 154, 161, 162 (2014), 223, 224 Institutions, 256 Gibson, Jeffrey, 92 Ireland, David, 52, 52n58, 60 Gillick, Liam, 139, 140 Glow, 154, 155, 183 Goldberg, Neil, 92 J Graham, Dan, 14, 28, 117, 137, 213, Jaar, Alfredo, 52n58, 53, 79n32, 92 219, 220 Janunger, Erika, 92 Cinema (1981), 213, 220 Jumbotron, 80 Video View of Suburbia in an Urban Atrium (1978-1980), 219, 220 K Kapoor, Anish, 106, 110 H Kartoon Kings, 201 Halegoua, Germaine, 146 Kim, Christine Sun, 257 Haring, Keith, 73, 75 Klein, David, 68, 70, 90, 92 Haunting, 213, 228–236, 246 Klein, Dustin, 260, 261 Hershman Leeson, Lynn, 228 Kusama, Yayoi, 117, 118 Chain Reaction (1983), 228 High Line Park, 234 Hildebrandt, Hank, 162 L Hirschhorn, Thomas, 220 Levine, Les, 77, 78n31 Hirshhorn Museum and Sculpture Lewin, Jen, 165, 166 Garden, 34, 49, 51, 51n54, 52, Lightborne, 171, 172 52n57, 54, 56, 57, 57n69, Light City Baltimore, 158 59, 61, 62 Lincoln Center, 218, 223, 224, 228 Holzer, Jenny, 64, 72n22, 73–76, 83, Lozano-Hemmer, Rafael, 105, 97–99, 257 118–119, 122–138, 142 IT IS GUNS (2018), 99 Level of Confdence (2015), 122–125 Sign on a Truck (1984), Re: positioning Fear (1997), 125, 126 97–99, 99n69 Sandbox (2010), 128, 135–138 Truisms, 73–75, 76n26, 83 Under Scan (2005), 127–135, 137 Hypertopia, 211 LUMA Festival, 154, 157, 183 LuminArtz, 259

I Ikeda, Ryoji, 92 M Illuminator, The, 251–254 Massey, Doreen, 147, 171 IMAX, 58, 59 Matos, Johnny “CRASH,” 73, 75 IMMERSE Orlando, 154, 166, 167n71 McCall, Anthony, 14, 102, 102n3, Impactplan, 140, 141 127, 139 290 INDEX

McCarthy, Anna, 146 P Messages for the City, 257 Pandemic, 255–257, 259, 262 Messages to the Public, 71–80, 84, 85, Paracinema, 139 87, 88, 92, 95–97 Parkinson, Alan, 166 Midnight Moment, 70, 85n47, 88–94 Passerby, 4, 23, 24 Millennium Park, 105–117 Permanence, 187–189, 187n1, 195, 196 Minority Report, 64 Place, 6–8, 10, 15–17, 19, 23, 25–29, Minter, Marilyn, 95 145–149, 151–154, 152n25, Montage, 235–241, 247 159, 161–164, 166–171, Monumentality, 173, 174 173–176, 183, 185, 186 Monuments, 213, 228, 236–241, 243, place making, 147–152, 155, 160, 244, 246–250, 260–262, 260n8 171, 176, 185, 186 Mosaic District, 198, 199 Playable city, 115, 128, 135, 138, 139 Muntadas, Antoni, 77, 96 Plensa, Jaume, 105, 108–112, 115, Museums, 34, 45, 47–49, 51–56, 116n36, 131, 138, 187 52n57, 59 Crown Fountain (2004), 105, 109–111, 187 Portals, 212, 213, 219, 222, 223 N Portraiture, 105, 110–112, 119, Nauman, Bruce, 117, 137 131, 137 New Urbanism, 148 Projective city, 155, 158, 159, New Urban Landscape, 231, 233 159n48, 163, 174 Non-place, 145, 146 Public Access Collective, 190 Northern Spark, 160, 160n54, 161, Public art, 2, 5–29, 21n57 169, 170 Public Art Fund, 72, 73, 78, 79, 81, 84, 85, 88, 95, 97 Public pools, 105, 114, 115 O Opie, Julian, 208, 209 Ann Dancing (2007), 208 Q O’Shea, Chris, 119–122, 121n45, Quartier des Spectacles, 149, 157 135, 203 Hand from Above (2009), 119–121, 135, 137, 203 R Oursler, Tony, 2–4, 21, 28, 213, 229, Rabinowitz, Sherrie, 223, 225, 226 233–235, 246 Hole in Space (1980), 223, 226 Braincast (2004), 233 Reitz, Mary Clare, 168, 169n74 The Infuence Machine (2000), 233 Ricoeur, Paul, 124 Tear of the Cloud (2018), 2, 3, 5, Rist, Pipilotti, 81, 83–88, 229, 233, 234 85n45, 91, 94 Over-the-Rhine, 156, 167–169, Open My Glade (2000), 81, 179n92, 184 83, 85, 91 INDEX 291

S U Scher, Jeff, 92 Ukeles, Mierle Laderman, Simmons, Xaviera, 257 190–192, 257 Snow, Michael, 81, 85 Flow City (1983-1990), Son et lumière, 154, 176 190–192 Space, 2, 3, 5–29, 8n11 Umbrella Skies Project, 140 Spectacle, 31n1, 33, 49, 53, 58, 59, Urban space, 5, 6, 11, 22–26, 29 67, 68, 70, 83, 88, 89, 94, 146, 150, 152–155, 162, 174, 176, 183, 186 V Spectacolor, 68–94 Venividimultiplex, 166 Spectatorship, 5, 6, 9–11, 13, Videowall, 189–200, 189n7 15, 26, 27 Viola, Bill, 47, 47n47 Splash parks, 115, 138, 140 Virilio, Paul, 146, 154, 156 Staehl, Wolfgang, 222 Midtown (2004–2005), 222 Stonbely, George, 72, 79 W Struth, Thomas, 220 Wavelength, 258 Eine Projektion für Münster [A Weems, Carrie Mae, 257, Projection for Münster] 257n3, 258 (1987), 220 Widescreen, 53n63, 54–56, 58, 59 Subway, 35–46, 57 Wilson, Jane and Louise, 90 Summit Park, 140, 141 Windows, 212–228, 235, 236, 246 Superimposition, 211–254 Wodiczko, Krzysztof, 213, 236–249, Surveillance, 105, 120–125, 127, 130, 251, 254 132, 134–137, 142 Abraham Lincoln: War Veteran Projection (2012), 243, 244 T Bunker Hill Monument Projection Taylor, Erin, 162 (1998), 240–242 Television networks, 80 Monument (2020), 243–245 They Live, 64, 78 War Veteran Vehicle Projection Times Square, 63–99 (2008), 248 Times Square Alliance, 70, 88, 89 Woolfalk, Saya, 171n76, 177, Times Square Arts, 88, 90, 257, 258 178, 185 Tourism, 148, 153, 154, 160, 165, 186 Visionary Reality Threshold (2019), Tuan, Yi-Fu, 145 177, 178 Tykkä, Salla, 56 Wormholes, 213, 214, 219–228