Artist Biography, Jessica Stockholder

Total Page：16

File Type：pdf, Size：1020Kb

Blaffer Gallery - Jessica Stockholder- Kissing the Wall Artist Biography, Jessica Stockholder 1959 Born in Seattle, Washington grew up in Vancouver, Canada. 1978 Attended a four-month program at The Camden School of Art in London, England, then the University of Victoria in British Columbia, Vancouver, Canada where she studied with Judith Lodge. 1979 Awarded a tuition scholarship to the University of Victoria. 1990 Acrylic and oil paint, wood, wool, lights without bulbs, 1982 stool made of branches, wheels, papier-mâché, duct BFA from the University of Victoria. tape, cloth 46x 78 x 32 in 116.8 x 198.1 x 81.3 cm 1983 Studied painting, then switched to sculpture with Jake Berthot, Judy Pfaff, Ursula von Rydingsvard, David von Schlegell and George Trakas, at Yale University in New Haven, Connecticut, with a tuition scholarship. 1984 One-person exhibition, installation In-side out at the Art Culture Resource Center, Toronto, in July. 1985 MFA in sculpture and the Susan H. Whedon Award from Yale University and moved to New York City. 1988 National Endowment for the Arts Grant in Sculpture Visiting artist at Brock University, Toronto, Ontario, Canada. 1989 New York Foundation for the Arts Grant in Painting. 1991 1990 Wood, magazine rack, papier-mâché, luggage, Contingent Realms: Four Contemporary Sculptors, wheels, light fixture, mirror, cloth, metal lath, wire, electrical wire Whitney Museum of American Art at Equitable Center, New 58 x 24 x 25 in York, September–December. 147.3 x 61 x 63.5 cm Collection Eileen and Richard Ekstract, Sagaponack, New York 1991 Page 1 Blaffer Gallery - Jessica Stockholder- Kissing the Wall Whitney Biennial 1991, Recording Forever Pickled Too, installation, Whitney Museum of American Art, New York, April 2–June 30. 1992 Taught undergraduate and graduate level sculpture courses at New York University, New York, and the School of Visual Arts, New York. Lectured and visited studios at Rhode Island School of Design, Providence, Rhode Island 1993 Began teaching various sculpture courses at Bard College, Annandale-on-Hudson, New York; The Cooper Union, New York and continued to teach at New York University; resident artist at Skowhegan School, Skowhegan, New York. Lectured and visited studios at CalArts, Valencia, California 1995 1996 th Lamp parts, blue bulb, yellow cord, hardware, mirror, Painting Outside Painting: 44 Biennial Exhibition of wire mesh, fabric, acrylic paint Contemporary American Painting, The Corcoran Gallery 68.3 x 27 x 97 in of Art, Washington, D.C., December 16–February 19, 1996. 173.4 x 61 x 246.4 cm Collection Carol and David Appel, Toronto Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume, installation, Dia Center for the Arts, New York, October 5–June 21, 1996. Done in conjunction with an online project. 1996 John Solomon Guggenheim Fellowship Award, Visual Art 1997 Lectured, participated in panel discussions and was a visiting artist in many locations, including: Atelier Calder, Tours, France; School of the Art Institute of Chicago, Chicago, Illinois; Brown University, Providence, Rhode Island; Vancouver Art Gallery, Vancouver, Canada; University of Texas, Austin, Texas; Fundaci¢ “la Caixa”, Barcelona, Spain. La Biennale di Venezia: 47th Esposizione Internazionale d’arte, Recording Forever Pickled, installation, Corderie Building, Venice, June 15–November 9. Released an artist book entitled Jessica Stockholder: 9 Installations, published by Edition du Centre d'art imprimé, Paris, France. Edition of 75, signed / numbered. 1996 Metal stud, angle iron, plastic mesh, paper with plaster and Celluclay, lamp shade, Styrofoam, pillow, plastic and metal furniture, acrylic paint, newspaper, electrical cable ties, four coat hooks 96 x 55 x 63 in 243.8 x 139.7 x 160 cm Collection Susan and Michael Hort, New York Page 2 Blaffer Gallery - Jessica Stockholder- Kissing the Wall Page 3.

Copy Link

Recommended publications

School of Architecture 2001–2002
School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Ofﬁce: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) The closing date for material in this bulletin was June 20, 2001. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2001 by Yale University. All rights reserved. The material in this bulletin may not be repro- duced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Open House All interested applicants are invited to attend the School’s Open House: Thursday, November 1, 2001. Inquiries Requests for additional information may be directed to the Registrar, Yale School of Architecture, PO Box 208242, 180 York Street, New Haven ct 06520-8242; telephone, 203.432.2296; fax, 203.432.7175. Web site: www.architecture.yale.edu/ Photo credits: John Jacobson, Sarah Lavery, Michael Marsland, Victoria Partridge, Alec Purves, Ezra Stoller Associates, Yale Ofﬁce of Public Affairs School of Architecture 2001–2002 bulletin of yale university Series 97 Number 3 June 30, 2001 c yale university ce Pla Lake 102-8 Payne 90-6 Whitney — Gym south Ray York Square Place Tompkins New House Residence rkway er Pa Hall A Tow sh m u n S Central tree Whalley Avenue Ezra Power Stiles t Morse Plant north The Yale Bookstore > Elm Street Hall of Graduate Studies Mory’s Sterling St.
[Show full text]
The Contemporary Art of Travel
©2008 Mary M. Tinti ALL RIGHTS RESERVED THE CONTEMPORARY ART OF TRAVEL: SITING PUBLIC SCULPTURE WITHIN THE CULTURE OF FLIGHT by MARY M. TINTI A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Joan Marter and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight By MARY M. TINTI Dissertation Director: Dr. Joan Marter The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight, situates the notable yet little known airport installations of Vito Acconci, Diller + Scofidio, Alice Aycock, and Keith Sonnier in their appropriate artistic, theoretical and social contexts. Provocative and cutting edge, these recent commissions are exemplary for the ways in which they explore the collisions and cross influences of fine art, architecture, technology, flight and travel with particular sensitivity to the qualities that make the airport a singular contemporary space. More than mere decoration or distraction, these site-responsive artworks are visual representations of exactly how this unique place (or non-place) and this unique culture might coincide in sculptural form. Teeming with turbulent paradoxes, airports are uncanny, impersonal, in-between spaces; spaces in which travelers are forced to relinquish control of their autonomy, privacy, safety, sense of time, connections to the ground and links to the world outside. Unafraid of such air travel truths, the artists profiled in this dissertation use them as a ii source of inspiration.
[Show full text]
Curriculum Vitae 2012
CURRICULUM VITAE 2012 Clark V. Poling Professor Emeritus, Art History 428 Avon Street Emory University Oakland, CA 94618 Atlanta, Georgia 30322 510 923-1668 e-mail: [email protected] Education: Columbia University, M.A., 1966; Ph.D., 1973 Dissertation: "Color Theories of the Bauhaus Artists" Yale University, B.A., 1962 Professional Positions: Emory University, Art History Department; Assistant Professor, 1973-1979; Associate Professor, 1979-1988; Professor, 1988-2006; Professor Emeritus, 2006 - Chair, 1987-1988, 1989-fall 1991, spring 1994, 1997-1998, 2001-2003 Emory University, Michael C. Carlos Museum; Faculty Curator of Works on Paper, 2000-2006 Emory University Museum of Art and Archaeology (now Michael C. Carlos Museum); Director, Jan. 1982-Dec. 1986 Cooper Union, New York, N.Y.; Visiting Lecturer, 1970-1973 Rutgers University, New Brunswick, N.J.; Instructor, 1969-1970 Bard College, Annandale-on-Hudson, N.Y.; Instructor, 1967-1969 Recent Teaching: Continuing Studies, Stanford University, fall 2010, fall 2011 Osher Lifelong Learning Institute, University of California, Berkeley, spring 2008, spring 2009 University of San Francisco, fall 2008 California College of the Arts, spring 2008 Awards: Alfred Heilbrun, Jr. Distinguished Emeritus Fellowship, Emory University, 2011-2012 Visiting Scholar Residency, Lucid Art Foundation, Inverness, CA, June 2008 Emory University, Language Across the Curriculum Grant, 2004-2005 Emory University, Institute for Comparative and International Studies, Travel Grant, spring 2004 Michael C. Carlos Museum
[Show full text]
Richard Serra Born 1938 in San Francisco, California
This document was updated March 4, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Richard Serra Born 1938 in San Francisco, California. Lives and works in New York and Nova Scotia, Canada. EDUCATION 1961 B.A., University of California, San Diego 1962 B.F.A., Yale University, New Haven 1964 M.F.A., Yale Univesity, New Haven SOLO EXHIBITIONS 2020 Richard Serra: Works on Paper, Berggruen Gallery, San Francisco (February 20-June 2020) 2019 Richard Serra | Finally Finished, David Klein Gallery, Birmingham, Michigan (November 2- December 21, 2019) Richard Serra: Composites, Gemini G.E.L. at Joni Moisant Weyl, New York (October 17, 2019- February 1, 2020) Richard Serra Drawings, Paul Coulon, London (September 26-November 15, 2019) Richard Serra: Forged Rounds, Gagosian Gallery (24th Street), New York (September 17- December 7, 2019) Richard Serra: Reverse Curve, Gagosian Gallery (21st Street), New York (September 17, 2019- February 1, 2020) Richard Serra: Triptychs and Diptychs, Gagosian Gallery (Madison Avenue), New York (September 16-November 2, 2019) Richard Serra: Equals, Hiram Butler Gallery, Houston (March 5-April 27, 2019) Richard Serra: 1985-1996, Krakow Witkin Gallery, Boston (January 5-February 9, 2019) 2018 Richard Serra: Equals, Gemini G.E.L. at Joni Moisant Weyl, New York (September 22- November 3, 2018) Richard Serra Drawings, David Zwirner, Hong Kong (May 23-June 30, 2018) Richard Serra: Rifts, Gagosian Gallery (Grosvenor Hill), London (April 6-May 25, 2018) Richard
[Show full text]
JESSICA STOCKHOLDER Born: 1959, Seattle, WA Located: Chicago, IL
JESSICA STOCKHOLDER Born: 1959, Seattle, WA Located: Chicago, IL EDUCATION 1983-85 Yale University, New Haven, CT; sculpture, painting, MFA-1985 (Studied with: Jake Berthot, Judy Pfaff, Ursula von Rydingsvard, David von Schlegell & George Trakas) 1980-82 University of Victoria, Victoria, BC, Canada; BFA-1982 (Studied with: Mowry Baden & Roland Brenner) 1978-80 University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course work (Studied with: Judy Williams & Geoffrey Smedley) 1977-79 The Camden School of Art, London, England; four month program University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course work (Studied with: Judith Lodge) SELECTED SOLO AND TWO ARTIST EXHIBITIONS 2021 what is normal, Raffaella Cortese Gallery, Milan, Italy (forthcoming) 2020 Intimate, Galeria Max Estrella, Madrid, Spain Digital Thoughts, 1301PE, Los Angeles, CA 2019 Save on select landscape & outdoor lighting: Song to mind uncouples, The Contemporary Austin, Laguna Gloria, Austin, TX Slip Slidin’ Away, Kunstplatz Garben, Kunst im öffentlichen Raum Wien, Vienna Assist: Rider, Croeselaan, Centraal Museum, Utrecht, Netherlands Save on select landscape & outdoor lighting: Song to mind uncouples, The Contemporary Austin, Austin, TX 2018 Relational Aesthetics, The Contemporary Austin, Austin, TX Play on Surfaces & Surfing, Regenstein Library, University of Chicago, Chicago, IL Three Squared on the River Bank, Parcours, Art Basel, Switzerland 2016 The Guests All Crowded into the Dining Room, Mitchell-Innes & Nash, New York,
[Show full text]
Lettre Info G T 10.2017
« Notre perception du passé peut être sensible dans une marche qui nous intègre dans le paysage, ses détails, les énormes plaques de schiste découvertes sur un axe près d’un arbre et, là, un palier avec des marches en tôle forgées qui descendent vers un poteau à 10 m, en fonte, avec une tête singulière qui fait signe d’avancer. Plus bas, un abri dans l’ombre des arbres, en ferraille et branches, et un banc en pierre, un coussin en copeaux de cèdre pour sentir, réfléchir, entendre le vent, les oiseaux, regarder les mouvements de la forêt et penser notre présence au présent dans cette ambiance en relation avec le monde. Sortir du chaos et entrer dans un espace temporel qui éclaire et réalise progressivement les détails du paysage en relation avec nos associations internes, tout lentement, de mouvement en mouvement, comme dans un film. Revisiter le site un autre jour, une autre saison, à la faveur d’un changement de température, de temps, neige, pluie, constater la constance de l’axe, la stabilité des éléments, les arbres, la pierre, la pente, à chaque visite. L’œuvre devient un roman en divers chapitres de soi. Entrer dans un endroit vierge, de bruit, de monde, où l’urbain ne peut exister, y ressentir la force puisée dans son âme néolithique ... une sensation forte de paix, omniprésente, mais qui n’est pas due au hasard. C’est la volonté des communes de le garder ainsi. C’est impressionnant et donne du courage. » Étude pour Lamelouze (George Trakas, extrait) GT 03-2017 Parution d’un carnet d’étude pour Lamelouze, Nouvelle coïncidence, George Trakas vient en Étude pour Lamelouze – GT 03-2017 , Né en 1944 à Québec, George Trakas, vit George Trakas, 2017 France pour un voyage personnel en Août 2015.
[Show full text]
Richard Fleischner's Resume
Richard Fleischner ONE PERSON EXHIBITIONS 2013-14 “Richard Fleischner”, South London Gallery, London, England 2011 “Material/Process/Place,” Knoedler & Company, New York, NY 2003 "Richard Fleischner, 3 over 3," Museum of Art, Rhode Island School of Design, Providence, RI "GOUCHES," Nina Freudenheim Gallery, Buffalo, NY 2000 "Recent Works on Paper," Danese, New York, NY 1999 "Mazes & Squares," Danese, New York, NY 1997 "Works on Paper," Danese, New York, NY 1995 "Richard Fleischner: Works on Paper," Gerald Peters Gallery, Dallas, TX "Richard Fleischner: Projects," David Winton Bell Gallery, Providence, RI 1992 "Richard Fleischner Critical Distance," Des Moines Art Center, Des Moines, IA 1991 WorKs On Paper, Gerald Peters Gallery, Dallas, TX 1987 McIntosch Drysdale Gallery, Washington, D.C. 1986 Portica Harcus Gallery, Boston, MA 1983 University of Rhode Island, Kingston, RI Philadelphia College of Art, Philadelphia, PA. 1981 Max Protetch Gallery, New York, NY 1980 Max Protetch Gallery, New YorK, NY 1980 Museum of Art, Rhode Island School of Design, Providence, RI 1977 University Gallery, University of Massachusetts, Amherst 1976 HammarsKjold Plaza, New YorK, NY 1971,'73,'75 Terry Dintenfass Gallery, New YorK, NY 1971 HopKins Art Center, Dartmouth College, Hanover, NH GROUP EXHIBITIONS 2016 “Drawing Conclusions: Works on Paper,” Danese Corey Gallery, New York, NY. “BlacK & White: Modern and Contemporary Positions,” Jason McCoy Gallery, New YorK, NY. 2015 “New Works: Richard Fleischner & Charles Simmons,” Del Deo & Barzune, New YorK, NY.
[Show full text]
Répertoire Des Expositions Depuis 1860
RÉPERTOIRE DES EXPOSITIONS DU MUSÉE DES BEAUX-ARTS DE MONTRÉAL 1860 – 2018 2 LISTE CHRONOLOGIQUE DES EXPOSITIONS 10 mai -? 1860 / May 10 -?, 1860 First Conversazione of the Art Association of Montreal Nordheimer's Music Hall (Montréal, Québec). 1st Loan Exhibition 25 août -? 1860/ August 25 -? 1860 Exhibition of works of art, paintings, etc. Organized for the visit of H.R.H. the Prince of Wales Fine Arts Courts, Provincial Exhibition held in the Cristal Palace (Montréal, Québec) 11 février au 13 février 1864 / February 11 to February 13, 1864 Second Conversazione of the Art Association of Montreal Mechanics Hall (Montréal, Québec). 2nd Loan Exhibition 27 février- ? 1865 / February 27 -?, 1865 Catalogue of oil and water colour paintings, engravings, photographs, and other works of art, lent for the occasion. 34 p. Essai de F.T. Palsgrave, Esq. Tiré du catalogue of the Fine Arts Collection at the Exhibition of all Nation, Londres, 1862 Mechanics Hall (Montréal, Québec) 3rd Loan Exhibition Conversazione ? 5 février au 16 février 1867 / February 5 to February 16, 1867 Catalogue of oil and water colour paintings [including some from the Montreal Sketching Club], statuary, bronzes and other works of art, lent for the occasion. Also, list of prizes purchased for the Art Union. The Gallery of the Association, Mercantile Library Building (Montréal, Québec) 4th Loan Exhibition Conversazione ? 25 février au 29 février 1868 / February 25 to February 29, 1868 Catalogue of oil and water colour paintings, statuary, bronzes and other works of art, lent for the occasion. The Gallery of the Association, Mercantile Library Building (Montréal, Québec) 5th Loan Exhibition Conversazione ? 23 décécembre to -? 1868 / December 23 to -?, 1868 Catalogue of oil and water colour paintings, statuary, &c.
[Show full text]
Odysseus in Canada a Greek Journey in the History of La Vieille Capitale QUEBEC HERITAGE NEWS
C HAMPLAIN R EVISITED: POMP AND PATRIOTISM $5 Quebec HeritageVOL 4, NO.11 SEPT-OCT 2008 News Cold Welcome Stereotypes and xenophobia in early press portrayals of Chinese immigrants ACurrentAffair Sigismund Mohr pioneered Quebec City’s hydroelectric power Odysseus in Canada A Greek journey in the history of la Vieille Capitale QUEBEC HERITAGE NEWS Quebec CONTENTS HeritageNews President’s Message 3 EDITOR TheFinePrint Kevin O’Donnell DWANE WILKIN PRODUCTION Letters 4 DAN PINESE Herd leader Daniel Parkinson Our pleasure Carol Green PUBLISHER THE QUEBEC ANGLOPHONE TimeLines 5 HERITAGE NETWORK Voices from Quebec Barbara Lavoie 400-257 QUEEN STREET What’s in a name? Barbara Lavoie SHERBROOKE (LENNOXVILLE) QUEBEC J1M 1K7 Cold Welcome 6 PHONE Early press portrayals of Chinese Quebecers Scott French 1-877-964-0409 A Current Affair 8 (819) 564-9595 Sigismund Mohr, hydro-electric pioneer Antonin Zaruba FAX The Humbler Celts 10 (819) 564-6872 The obscure legacy of Quebec’s Welsh Patrick Donovan CORRESPONDENCE Odysseus in Canada 12 [email protected] A Greek journey in the history of Quebec Louisa Blair WEBSITE Champlain Revisited 14 WWW.QAHN.ORG Pomp and patriotism in the confection of history Richard Virr PRESIDENT The Forgotten Patriote 18 KEVIN O’DONNELL E.B. O’Callaghan and early democratic reform Marjorie A. Fitzpatrick EXECUTIVE DIRECTOR Group Behaviour 21 DWANE WILKIN English schools and the shaping of identity Annie Pilote COMMUNICATIONS COORDINATOR BARBARA LAVOIE Reviews 23 OFFICE MANAGER Remember All the Way Gloria Er-Chua KATHY TEASDALE HindSight 25 Quebec Heritage Magazine is produced six Harmony Nick Fonda times yearly by the Quebec Anglophone Heritage Network (QAHN) with the support of The Department of Canadian Heritage Event Listings 27 and Quebec’s Ministere de la Culture et des Communications.
[Show full text]
Ten Young Artists : Theodoron Awards : [Exhibition, Sept. 24-Nov. 7, 1971
TEN YOUNG ARTISTS TH EODORON AWARDS Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/tenyoungartiststOOsolo TEN YOUNG ARTISTS: TH EODORON AWARDS THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK TRUSTEES The Solomon G. Guggenheim Foundation President Peter 0. Lawson-Johnston H, H. Arnason Eleanor. Countess Castle Stewart Joseph W. Donner Henry Allen Moe A. Chauncey Newlin Mrs. Henry Obre Daniel Catton Rich Albert E.Thiele Michael F. Wettach Carl Zigrosser Published by The Solomon R. Guggenheim Foundation New York, 1971 All Rights Reserved © The Solomon R. Guggenheim Foundation, 1971 Library of Congress Card Catalogue Number 77-1 78872 Printed in the United States of America ARTISTS IN THE EXHIBITION Theodoron is the name of an anonymous founda- tion whose primary interest is to aid young and promising creative individuals. In 1969 a gener- ous grant from Theodoron to The Solomon R. Power Boothe Guggenheim Foundation enabled this museum to Ron Cooper acquire one work from each of the following Billy Bryant Copley artists: Barry Flanagan, Gerhard Richter, John Mary Corse Walker, Gilberto Zorio, Dan Christensen, Bruce Nauman, James Seawright, Richard Serra, and Guy Dill Peter Young. The basis for the selection was an Andrew Gerndt exhibition held here in the same year in which Harriet Korman every one of the above-mentioned artists was Dona Nelson represented through several examples. The grant, Michael Singer therefore, allowed for the purchase of nine works which, even in the short time that has since George Trakas passed, have grown markedly in importance in our collection.
[Show full text]
The Avant-Garde
Studies in the Fine Arts: The Avant-Garde The Library of Professor Stephen C. Foster Professor Emeritus at the University of Iowa, former Director of the Fine Arts Dada Archive and Research Center, University of Iowa; General Editor of Crisis and the Arts: The History of Dada including The Library of Estera Milman Curator, University of Iowa Museum of Art, Founding Director of Alternative Traditions in the Contemporary Arts (ATCA) Project, Special Collections- University of Iowa Libraries 2,401 titles in circa 2,500 volumes Stephen Foster received his Ph.D. in Art History from The University of Pennsylvania and has been the recipient of honors and awards from The National Endowment for the Humanities, The National Endowment for the Arts, The Getty Grant Program, The Mellon Foundation, and The Smithsonian. Foster has served the field widely in reviewing the scholarship of his peers for The National Endowment of the Humanities, The National Endowment of the Arts and the Getty Post-Doctoral Grant Program. Additionally, he has administered and directed numerous fine arts and interdisciplinary programs of international scope; most notably, the University of Iowa’s Program for Modern Studies (with Estera Milman), widely respected as one of the best and most successful programs of its kind, the Corroborate (Intermedia Program), and The Dada Archive and Research Center, the largest American research center devoted to study in this field. As faculty involved in teaching and research at major art history programs from 1972 through 2001, Foster taught a full spectrum of twentieth century graduate courses and advanced seminars, and supervised numerous M.A.
[Show full text]
AUG 1 0 1984 P &
Government Support of Public Art: Private Art or Artistic Heritage by Michael A. Vargas B.A. California State College, San Bernardino San Bernardino, California June 1982 SUBMITTED TO THE DEPARTMENT OF URBAN STUDIES AND PLANNING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF CITY PLANNING AT MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 1984 c Michael A. Vargas, 1984 The author hereby grants to M.I.T. permission to reproduce and distribute copies of this thesis document in whole or in part. Signature of Author Michael A.Vargas D.U.S,P. ,/May,, 1984/ 7/ Certified by J.r) M s o c i, ter e ~ ~v4 so(J hesis *4 rvisor Accepted by Ka~tph ' ken er C ir n, t P. Committee, D.U.S.P. 1ASS~c' OF AUG 1 0 1984 p & 1-~lp , GOVERNMENT SUPPORT OF PUBLIC ART: PRIVATE ART OR ARTISTIC HERITAGE by Michael A. Vargas Submitted to the Department of Urban Studies and Planning on May 28, 1984 in partial fulfillment of the requirements for the degree of Master of City Planning. ABSTRACT Government authorities support the production of public art more vigorously than ever before. But the role of government in public art production is being debated. Critics accuse government art funding agencies of catering to the artistic tastes of society's upper classes while advocates of governmental support argue that emphasis on high artistic quality and peer review selection process ensure fairness. To date poor descriptions of the variety of public artworks have focussed the debate on vagueries rather than statistical material.
[Show full text]