University Of Cincinnati

CALL FOR SUBMISSIONS: Database of Eco Public Art

September 8, 2013Announcements, EcoArt, Open CallsBroader Community, Creative Practitioners, Director Center, Editorial Committee, Environmental Health Clinic, External Constraints, Fenner, International Advisory Committee, Jill Bennett, Natalie Jeremijenko, New York University, Newcombe, Project Legacy, Public Art, Public Artworks, Social Transformation, Sustainable Practice, University College London, University Director, University Of Cincinnati

The Curating Cities Database maps the increasingly important and emerging field of eco-sustainable public art. It is developed as a resource for researchers, academics, artists, curators, educators, commissioning agencies and sponsors working in the field as well as those interested in promoting sustainability via public art. In addition to descriptive information, the database evaluates the aims and outcomes of each project as well as the external constraints (and subsequent negotiations) that influence the production of public artworks. eco-publicart.org

EDITORIAL COMMITTEE

Jill Bennett, Felicity Fenner, Lindsay Kelly and Veronica Tello. Sustainability Consultant: Jodi Newcombe.

INTERNATIONAL ADVISORY COMMITTEE

T.J Demos (University College London); Ian Garrett (York University/Director, Center for Sustainable Practice); Natalie Jeremijenko (New York University/Director of Environmental Health Clinic); Sacha Kagan (Leuphana University LÃ¼neburg/Founder of Cultura21, Network for Cultures of Sustainability and the International Summer School of Arts and Sciences for Sustainability in Social Transformation); Adrian Parr (University of Cincinnati).

We invite submissions from curators, researchers, academics and creative practitioners.

PURPOSE

Our intention is to develop a resource that will be of value to all those interested in public art, including specialists and the broader community. The database entries are concise but designed to go beyond the short profiles readily available on other sites. To that end, we have developed a template and guidelines designed to elicit key information regarding the sustainability (as conceived within the particular project), legacy, engagement and circumstances of an artworkâ€™s production. Recognising that public art is not always well served by bureaucracies, entries may also record useful information on external constraints and how these were negotiated.

SCOPE

We are looking to achieve expansive coverage and are open to suggestions for inclusion (geographic remit is global). Generally, we interpret public art as a creative art form produced for non-gallery contexts (exceptionally, it may include gallery exhibitions with an explicit external engagement focus). We define â€œeco-sustainabilityâ€ to signify an evident interest in ecological, sustainable and/or environmental concerns. It is not our intent to â€˜policeâ€™ the definition of eco-sustainable public art: we are keen to include work that challenges definitions and expectations. As a general indication, we are interested in substantial work that actively engages with its environmental context (rather than in work that merely represents or symbolises an environmental concern).

SUBMISSION and REVIEW PROCESS

Submissions are peer-reviewed. Each submission should focus on a particular public art project, which must be proposed to the Editorial Committee in advance. Contributors are welcome to profile their own work, either by evaluating their own project or by referencing a larger study or thesis written by them on the same subject. We also invite academics that research and teach in this area to encourage student submissions. We are happy for the template to be used for course assessment exercises and can confer with lecturers regarding the process by which a batch of entries from a class can be peer reviewed/considered for inclusion in the database.

For the template and sustainable evaluation framework and to discuss a potential submission please email v.tello@unsw.edu.au

â€˜Eco-sustainable public artâ€™ mapped in new database

September 4, 2013Culture Futures, Open Calls, ResearchChief Curator, City Of Sydney, College Of Fine Arts, Creative Cities, Curating, Ecological Age, Experimental Arts, External Constraints, International Collaboration, Jill Bennett, Linkage Project, Margaret Farmer, Necessary Transition, New South Wales, New South Wales College, Public Artworks, Richard Goodwin, University Of Cincinnati, University Of New South Wales, Waste Recycling

This post comes to you from Culture|Futures

With searchable artwork themes such as â€˜Atmosphereâ€™, â€˜Energyâ€™, â€˜Renewal & Regenerationâ€™, and â€˜Waste, Recycling, Consumptionâ€™, a new â€˜Curating Citiesâ€™ database was launched on 30 August 2013. It maps â€œthe increasingly important and emerging field of eco-sustainable public art.â€

The â€˜Curating Citiesâ€™ database is developed as a resource for researchers, academics, artists, curators, educators, commissioning agencies and sponsors working in the field as well as those interested in promoting sustainability via public art.

In addition to descriptive information, the database evaluates the aims and outcomes of each project as well as the external constraints (and subsequent negotiations) that influence the production of public artworks.

Curating Cities is an Australian Research Council funded Linkage project led by Professors Jill Bennett and Richard Goodwin, and Chief Curator Felicity Fenner of the National Institute for Experimental Arts (NIEA) at the University of New South Walesâ€™ College of Fine Arts.

Linkage Partners: City of Sydney, Object: Australian Centre for Design, Carbon Arts, University of Cincinnati.

Research Team: Jill Bennett, Felicity Fenner, Richard Goodwin, Jodi Newcombe, Adrian Parr, Margaret Farmer and Kerry Thomas.

curatingcities.org

Culture|Futures is an international collaboration of organizations and individuals who are concerned with shaping and delivering a proactive cultural agenda to support the necessary transition towards an Ecological Age by 2050.

The Cultural sector that we refer to is an interdisciplinary, inter-sectoral, inter-genre collaboration, which encompasses policy-making, intercultural dialogue/cultural relations, creative cities/cultural planning, creative industries and research and development. It is those decision-makers and practitioners who can reach people in a direct way, through diverse messages and mediums.

Affecting the thinking and behaviour of people and communities is about the dissemination of stories which will profoundly impact cultural values, beliefs and thereby actions. The stories can open peopleâ€™s eyes to a way of thinking that has not been considered before, challenge a preconceived notion of the past, or a vision of the future that had not been envisioned as possible. As a sector which is viewed as imbued with creativity and cultural values, rather than purely financial motivations, the cultural sectorâ€™s stories maintain the trust of people and society.
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National Institute for Experimental Arts presents HotHouse

June 14, 2010Announcements, ConferencesBruce Mau, City Spaces, Community Collaboration, Creative Thinkers, Cultural Ecology, Driven Projects, Ecodesign Foundation, Experimental Arts, Facebook, Guiding Principle, Janet Laurence, Media Writers, Sustainable Urban Environments, Sydney Opera House, Sydneyoperahouse, Transnational Community, University Of Cincinnati, Urgent Environmental Problems, Vision Of Art, Visionary Ideas

National Institute for Experimental Arts (NIEA)

Cultural ecology and sustainable urban environments

Symposium
27-28 July 2010

Sydney Opera House
Utzon Room
http://www.niea.unsw.edu.au

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Symposium 27-28 July 2010, Utzon Room, Sydney Opera House (with drinks and project launch: 27 July, 6pm, Opera House Marquee)

Bookings through Sydney Opera HouseÂ http://www.sydneyoperahouse.com.

Updates and blogs:Â http://www.niea.unsw.edu.au. Pre and post HotHouse events can be followed on a dedicated HotHouse website to be launched in July 2010.

HotHouse brings together a diverse group of creative thinkers, each with visionary ideas for transforming urban environments. It seeks to cultivate a new cultural ecology in which the arts play a key role, working with the planners and users of city spaces to address urgent environmental problems.

HotHouse advances the proposal thatÂ we no longer curate art but curate space. Taking the city as a venue it replaces the traditional idea of â€˜exhibitingâ€™ art with a practical vision of art as a catalyst for social and environmental change.

The guiding principle of HotHouse is that ofÂ micro-change and universal, networked participation. Micro-change does not mean small change but networked or interconnected change with vast potential for expansion. The HotHousing process is designed to stimulate new projects, connections and local/transnational community collaboration.

Participants in HotHouse include design thinkers such asÂ Bruce Mau who has spearheaded community-driven projects for large-scale sustainable change in both North and South America,Â Tony Fry, Director of Team D/E/S and founder of the EcoDesign Foundation, andÂ Adrian Parr (University of Cincinnati); artists/designersÂ Janet Laurence, Dan Hill, Allan Giddy, Mathieu Gallois, David Trubridge, Carbon Arts, Makeshift andÂ Digital Eskimo; new media writers such asÂ Mark Pesce, one of the early pioneers in Virtual Reality and co-inventor of VRML; and international curators such asÂ Hou Hanru (San Francisco Art Institute), pioneer of exhibitions that operate in everyday city spaces, andÂ Michaela Crimmin (former director of the UK RSA, Art & Ecology Centre) leading international environmental art curator.

HotHouse is an initiative of the National Institute for Experimental Arts [NIEA] at UNSW (Director,Â Jill Bennett; Chief Curator,Â Felicity Fenner) in association with Object: Australian Centre for Craft and Design and the City of Sydney.