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47-552: The Electric Fountain is a water fountain with public art sculptures and evening lighting, surrounded by mosaic pavement, seating, and landscaping. It is located in Beverly Gardens Park on the corner of Santa Monica and Wilshire Boulevards in Beverly Hills, California . The two-level circular fountain includes a circular raised fountain spray area surrounded by a 30-foot (9.1 m) diameter pool. It

94-484: A Tongva / Gabrieleno tribe member, kneeling in prayer, on a 20-foot (6.1 m) stone column. According to Peter James Holliday, the image was "said to be modeled after Gradin Newsom, who was part Cherokee ". The sculpture sits in the center of the smaller circular raised fountain. The sides of the circular raised stone fountain are carved with 3-foot (0.91 m) high bas relief sculptures by Robert Merrell Gage as

141-650: A parallax both between locations, and messages, but also by the way one interprets neon signs in the public realm. Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town , South Africa. The site-specific nature of the work allows artists to interrogate the contemporary and historic reality of the Central Business District and create work that allows

188-466: A commission motive and as a critical focus by artists. The individual, Romantic retreat element implied in the conceptual structure of land art , and its will to reconnect the urban environment with nature, is turned into a political claim in projects such as Wheatfield – A Confrontation (1982) by American artist Agnes Denes , as well as in Joseph Beuys ’ 7000 Oaks (1982). Both projects focus on

235-488: A companion piece to the Tongva/Gabrieleno tribe member sculpture. The bas relief images depict scenes of the area's early history and development. The surrounding 30 foot (9.1 m) diameter pool is edged with ceramic tile. Terra cotta mosaic pavement tiles show images from the early history of the area and the founding of the city. Landscaping and benches surround the pool and have been modified throughout

282-481: A database of public art works, essays and case studies, with a focus on the UK. The Institute for Public Art, based in the UK, maintains information about public art on six continents. The WikiProject Public art project began in 2009 and strove to document public art around the globe. While this project received initial attention from the academic community, it mainly relied on temporary student contributions. Its status

329-406: A definition of site-specific art: "To move the work is to destroy the work." Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements; it is sometimes linked with environmental art . Outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is sometimes used for any work that

376-676: A good example although less art is involved. The doual'art project in Douala ( Cameroon , 1991) is based on a commissioning system that brings together the community, the artist and the commissioning institution for the realization of the project. Memorials for individuals, groups of people or events are sometimes represented through public art. Examples are Maya Lin 's Vietnam War Memorial in Washington DC, Tim Tate 's AIDS Monument in New Orleans , and Kenzō Tange 's Cenotaph for

423-463: A new approach in the way the percent for art was used, or the public art funds of Geneva with the Neon Parallax project involving a very large urban environnement in 2005. For the second one can refer to Les Nouveaux Commanditaires launched by Fondation de France with François Hers in 1990 with the idea a project can respond to a community's wish. The New York High Line from 2009 is

470-483: A structure for funding public art still utilized today. This program allotted one half of one percent of total construction costs of all government buildings to the purchase of contemporary American art for them. A-i-A helped solidify the policy that public art in the United States should be truly owned by the public. It also promoted site-specific public art. The approach to public art radically changed during

517-495: Is an example of an interactive, social activist public art project. Rather than metaphorically reflecting social issues, new genre public art strove to explicitly empower marginalized groups while maintaining aesthetic appeal. An example was curator Mary Jane Jacob 's 1993 public art show " Culture in Action " that investigated social systems though engagement with audiences that typically did not visit traditional art museums. In

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564-525: Is currently unknown. Site specific art Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Site-specific art is produced both by commercial artists, and independently, and can include some instances of work such as sculpture , stencil graffiti , rock balancing , and other art forms. Installations can be in urban areas, remote natural settings, or underwater. The term "site-specific art"

611-534: Is designed to encourage direct hands-on interaction. Examples include public art that contain interactive musical, light, video, or water components. For example, the architectural centerpiece in front of the Ontario Science Centre is a fountain and musical instrument ( hydraulophone ) by Steve Mann where people can produce sounds by blocking water jets to force water through sound-producing mechanisms. An early and unusual interactive public artwork

658-480: Is more or less permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art. In Geneva, Switzerland, the Contemporary Art Funds are looking for original ways to integrate art into architecture and the public space since 1980. The Neon Parallax project, initiated in 2004, is conceived specifically for

705-452: Is often created and provided within formal "art in public places" programs that can include community arts education and art performance. Such programs may be financed by government entities through Percent for Art initiatives. Some public art is planned and designed for stability and permanence. Its placement in, or exposure to, the physical public realm requires both safe and durable materials. Public artworks are designed to withstand

752-423: Is publicly accessible, both physically and/or visually. When public art is installed on privately owned property, general public access rights still exist. Public art is characterized by site specificity , where the artwork is "created in response to the place and community in which it resides" and by the relationship between its content and the public. Cher Krause Knight states that "art's publicness rests in

799-596: Is the case for High Line Art, 2009, a commission program for the High Line , derived from the conversion of a portion of railroad in New York City ; and of Gleisdreieck , 2012, an urban park derived from the partial conversion of a railway station in Berlin which hosts, since 2012, an open-air contemporary art exhibition. The 1980s also witnessed the institutionalization of sculpture parks as curated programs. While

846-550: The Chinati Foundation (1986) in Texas, which advocates for the permanent nature of large-scale installations whose fragility may be destroyed when re-locating the work. Public art faces a design challenge by its very nature: how best to activate the images in its surroundings. The concept of “ sustainability ” arises in response to the perceived environmental deficiencies of a city. Sustainable development , promoted by

893-636: The Smithsonian American Art Museum 's Archives of American Art . It currently holds over six thousand works in its database. There are dozens of non-government organizations and educational institutions that maintain online public art databases of public artworks covering numerous areas, including the National Endowment for the Arts , WESTAF , Public Art Fund , Creative Time , and others. Public Art Online, maintains

940-477: The United Nations since the 1980s, includes economical, social, and ecological aspects. A sustainable public art work would include plans for urban regeneration and disassembly. Sustainability has been widely adopted in many environmental planning and engineering projects. Sustainable art is a challenge to respond the needs of an opening space in public. In another public artwork titled "Mission leopard"

987-567: The 1970s by urban cultural policies, for example the New York-based Public Art Fund and urban or regional Percent for Art programs in the United States and Europe. Moreover, public art discourse shifted from a national to a local level, consistent with the site-specific trend and criticism of institutional exhibition spaces emerging in contemporary art practices. Between the 1970s and the 1980s, gentrification and ecological issues surfaced in public art practice both as

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1034-401: The 1970s, following the civil rights movement's claims on public space, the alliance between urban regeneration programs and artistic efforts at the end of the 1960s, and revised ideas of sculpture. Public art acquired a status beyond mere decoration and visualization of official national histories in public space. Public art became much more about the public. This perspective was reinforced in

1081-495: The 1990s, some artists called for artistic social intervention in public space. These efforts employed the term "new genre public art" in addition to the terms "contextual art", " relational art ", " participatory art ", "dialog art", " community-based art ", and "activist art". "New genre public art" is defined by Suzanne Lacy as "socially engaged, interactive art for diverse audiences with connections to identity politics and social activism". Mel Chin 's Fundred Dollar Bill Project

1128-534: The 21st Century public art has often been a significant component of public realm projects in UK cities and towns, often via engagement with local residents where artists will work with the community in developing an idea or sourcing content to be featured in the artwork. Examples would include Adrian Riley 's 'Come Follow Me' in Minster in Lincolnshire where a 35m long text artwork in the public square outside

1175-686: The A-bomb Victims in Hiroshima Peace Memorial Park in Japan. Public art is sometimes controversial. The following public art controversies have been notable: Online databases of local and regional public art emerged in the 1990s and 2000s in tandem with the development of web-based data. Online public art databases can be general or selective (limited to sculptures or murals), and they can be governmental, quasi-governmental, or independent. Some online databases, such as

1222-502: The Gangsta Gardener (or Guerrilla Gardener) of South Central L.A. is an example of an artist whose works constitute temporary public art works in the form of public food gardens that addresses sustainability, food security and food justice . Andrea Zittel has produced works, such as Indianapolis Island that reference sustainability and permaculture with which participants can actively engage. Some public art

1269-519: The Plaine de Plainpalais, a public square of 95'000 square meters, in the heart of the city. The concept consists of commissioning luminous artistic works for the rooftops of the buildings bordering the plaza, in the same way, advertisements are installed on the city's glamorous lakefront. The 14 artists invited had to respect the same legal sizes of luminous advertisements in Geneva. The project thus creates

1316-471: The creek became a specific goal to which I geared a bodily activity," with his two successful jumps being "dictated by a land form." Site specific environmental art was first described as a movement by architectural critic Catherine Howett and art critic Lucy Lippard . Emerging out of minimalism , site-specific art opposed the Modernist program of subtracting from the artwork all cues that interfere with

1363-661: The current location, which comprises a unique combination of physical elements: depth, length, weight, height, shape, walls, temperature. Works of art began to emerge from the walls of the museum and galleries ( Daniel Buren , Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries ( Michael Asher , untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke , Condensation Cube, 1963–65, Mierle Laderman Ukeles , Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing

1410-539: The decades. The most recent addition to the Electric Fountain was the multi-colored nighttime lighting program for the pool, fountain, and sculpture. Installed in 2016, the lighting program made the Electric Fountain highly visible after dark. The fountain was a gift to the City of Beverly Hills from Sarah Elizabeth (Fraser) Lloyd, mother of silent-screen actor Harold Lloyd in 1931, and the original installation

1457-434: The definition of public art by its absence of public process or public sanction as "bona fide" public art. Common characteristics of public art are public accessibility, public realm placement, community involvement, public process (including public funding); these works can be permanent or temporary. According to the curator and art/architecture historian, Mary Jane Jacob , public art brings art closer to life. Public art

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1504-594: The development of public art during the Great Depression but was wrought with propaganda goals. New Deal art programs were intended to develop national pride in American culture while avoiding addressing the faltering economy. Although problematic, New Deal art programs such as FAP altered the relationship between the artist and society by making art accessible to all people. The New Deal program Art-in-Architecture (A-i-A) developed percent for art programs,

1551-492: The elements (sun, wind, water) as well as human activity. In the United States, unlike gallery, studio, or museum artworks, which can be transferred or sold, public art is legally protected by the Visual Artists Rights Act of 1990 (VARA) which requires an official deaccession process for sale or removal. The following forms of public art identify to what extent public art may be physically integrated with

1598-493: The fact that a curator conducts and supervises the realization of a public art work for a third party, it can also mean that the art work is produced by a community or public who commissions a work in collaboration with a curator-mediator. For the first, significant examples of these prospective manners of commissioning art projects have been established by the Public Art Fund launched by Doris C. Freedman in 1977, with

1645-479: The fact that it is "art", Modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and commodification. Since 1960 the artists were trying to find a way out of this situation, and thus drew attention to the site and the context around this site. The work of art was created in the site and could only exist and in such circumstances - it can not be moved or changed. The notion of "site" precisely references

1692-544: The first public and private open-air sculpture exhibitions and collections dating back to the 1930s aimed at creating an appropriate setting for large-scale sculptural forms difficult to show in museum galleries, installations such as Noguchi's Garden in Queens , New York (1985) reflect the necessity of a permanent relationship between the artwork and its site. This relationship also develops in Donald Judd ’s project for

1739-459: The immediate context or environment. These forms, which can overlap, employ different types of public art that suit a particular form of environment integration. In the 1930s, the production of national symbolism implied by 19th century monuments began being regulated by long-term national programs with propaganda goals ( Federal Art Project , United States; Cultural Office, Soviet Union). Programs like President Roosevelt's New Deal facilitated

1786-469: The increase of ecological awareness through a green urban design process, bringing Denes to plant a two-acre field of wheat in downtown Manhattan and Beuys to plant 7000 oaks coupled with basalt blocks in Kassel, Germany in a guerrilla or community garden fashion. In recent years, programs of green urban regeneration aiming at converting abandoned lots into green areas regularly include public art programs. This

1833-550: The museum as an institution that sets the rules for artists and viewers. Jean-Max Albert , created Sculptures Bachelard in Parc de la Villette related to the site, or Carlotta’s Smile , a trellis construction related to Ar. Co,’s architecture Lisbon , and to a choreography in collaboration with Michala Marcus and Carlos Zingaro , 1979. When the public debate over Tilted Arc (1981) resulted in its removal in 1989, its author Richard Serra reacted with what can be considered

1880-423: The public realm (for example, graffiti , street art ) lacks official or tangible public sanction has not been recognized as part of the public art genre, however this attitude is changing due to the efforts of several street artists. Such unofficial artwork may exist on private or public property immediately adjacent to the public realm, or in natural settings but, however ubiquitous, it sometimes falls outside

1927-554: The quality and impact of its exchange with audiences ... at its most public, art extends opportunities for community engagement but cannot demand particular conclusion,” it introduces social ideas but leaves room for the public to come to their own conclusions. Public art is often characterized by community involvement and collaboration. Public artists and organizations often work in conjunction with architects, fabricators/construction workers, community residents and leaders, designers, funding organizations, and others. Public art

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1974-415: The town's Minster includes local residents own stories alongside official civic history and the town's origin myth. The term "curated public art" is used to define the way of producing public art that significantly takes into account the context, the process and the different actors involved. It defines itself slightly differently from top-down approaches of direct commissioning. If it mainly designates

2021-674: Was Jim Pallas ' 1980 C entury of Light in Detroit, Michigan of a large outdoor mandala of lights that reacted in complex ways to sounds and movements detected by radar (mistakenly destroyed 25 years later ). Another example is Rebecca Hackemann's two works The Public Utteraton Machines of 2015 and The Urban Field Glass Project / Visionary Sightseeing Binoculars 2 008, 20013, 2021, 2022. The Public Utteraton Machines records people's opinions of other public art in New York, such as Jeff Koon's Split Rocker and displays responses online . In

2068-455: Was commissioned in 2016 in Haryana, India, among the remote deciduous terrain of Tikli village a team coordinated by Artist Hunny Mor painted two leopards perched on branches on a water source tank 115 feet high. The campaign was aimed to spread awareness on co-habitation and environmental conservation. The art work can be seen from several miles across in all directions. Ron Finley 's work as

2115-465: Was designed by architect Ralph Carlin Flewelling in 1931, in partnership with sculptor Robert Merrell Gage , who created the center sculpture and bas relief . The Electric Fountain contains several individual public art components. These components include sculpture, bas relief, mosaics, landscaping, and lighting program. Robert Merrell Gage placed the 6-foot (1.8 m) granite sculpture of

2162-764: Was funded by the Beverly Hills Women's Club . It was built on land donated by the Rodeo Land and Water Company. In 2014-2015, Chinese businessman Wang Jianlin donated US$ 200,000 for the restoration of the fountain, and in 2016 the fountain, sculptures, and surrounding public space received a major restoration and renovation. It was featured in the 1995 movie Clueless and The Go-Go's 1981 music video for " Our Lips Are Sealed ". 34°04′01″N 118°24′38″W  /  34.06707°N 118.410419°W  / 34.06707; -118.410419 Public art Independent art created or staged in or near

2209-460: Was promoted and refined by Californian artist Robert Irwin but it was actually first used in the mid-1970s by young sculptors, such as Patricia Johanson , Dennis Oppenheim , and Athena Tacha , who had started executing public commissions for large urban sites. For Two Jumps for Dead Dog Creek (1970), Oppenheim attempted a series of standing jumps at a selected site in Idaho, where "the width of

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