In the Field Part 2 (Pizzas, RAY + JULIE and Euro'96
In the field part 2 (Pizzas, RAY + JULIE and Euro’96): Community Art 1995-6 Alan Dunn Postscript without conclusion At that De Niro meal in Chicago in 1994, Jon Pounds says something to me that I don’t quite process fully at the time but it lingers. He looks at Bellgrove, Kilmarnock, Hamilton and Sinatra and suggests that I like the idea of public and community art more than I like public and community art in themselves. I think Jon’s comment has to do with context. He has lived and worked in Chicago his whole life, which is very different from the notion of the artist in residence in different cities and working with different communities, which is what these texts are becoming documents of. Do I use community and public art as currency as I use sound art or curating? Very possibly, but at the same time the notion of projects is highly addictive. I see everything through project-glasses and projects are like little plays with organisation, characters, un/planned events, settings, moments of interaction and undercurrents of meaning. Liking the idea of something over the thing itself of course suggests a reluctance to commit, a map rather than the landscape or the concept of love as opposed to being in love. During an EA crit, Roddy B suggests his billboards are conversational whereas mine are more presentational or observational. There is a degree of truth in this, however, and these questions linger. 1995 Liverpool in January. We find a flat by Sefton Park at 28 Croxteth Drive and meet Stefania and Fabrizio, the Italian artists that live across the road, at the suggestion of Merliyn Smith who is an old friend of David Harding.
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