Assessing the Intellectual Value of New Genre Public Art

Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues....

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Main Author: Caldarola Elisa
Format: Article
Language:English
Published: De Gruyter 2019-01-01
Series:Open Philosophy
Subjects:
Online Access:http://www.degruyter.com/view/j/opphil.2019.2.issue-1/opphil-2019-0003/opphil-2019-0003.xml?format=INT
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author Caldarola Elisa
author_facet Caldarola Elisa
author_sort Caldarola Elisa
collection DOAJ
description Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, I take distance from Vid Simoniti’s recent account of ‘Socially Engaged Art’, offer a thorough analysis of Thomas Hirschhorn’s Bataille Monument (2002) and Kathrin Bohm’s and Stefan Saffer’s Mobile Porch (1999), and submit that both such works qualify as good works of NGPA.
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spelling doaj.art-13b88616d6d94696a4570516f4039a142022-12-21T20:24:43ZengDe GruyterOpen Philosophy2543-88752019-01-0121222910.1515/opphil-2019-0003opphil-2019-0003Assessing the Intellectual Value of New Genre Public ArtCaldarola Elisa0University of PadovaPadova, ItalySuzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, I take distance from Vid Simoniti’s recent account of ‘Socially Engaged Art’, offer a thorough analysis of Thomas Hirschhorn’s Bataille Monument (2002) and Kathrin Bohm’s and Stefan Saffer’s Mobile Porch (1999), and submit that both such works qualify as good works of NGPA.http://www.degruyter.com/view/j/opphil.2019.2.issue-1/opphil-2019-0003/opphil-2019-0003.xml?format=INTaestheticsphilosophyart in the public spherepublic artdialogic artpublic spherepublic engagementtemporary artdurational approaches to public arthabermas
spellingShingle Caldarola Elisa
Assessing the Intellectual Value of New Genre Public Art
Open Philosophy
aesthetics
philosophy
art in the public sphere
public art
dialogic art
public sphere
public engagement
temporary art
durational approaches to public art
habermas
title Assessing the Intellectual Value of New Genre Public Art
title_full Assessing the Intellectual Value of New Genre Public Art
title_fullStr Assessing the Intellectual Value of New Genre Public Art
title_full_unstemmed Assessing the Intellectual Value of New Genre Public Art
title_short Assessing the Intellectual Value of New Genre Public Art
title_sort assessing the intellectual value of new genre public art
topic aesthetics
philosophy
art in the public sphere
public art
dialogic art
public sphere
public engagement
temporary art
durational approaches to public art
habermas
url http://www.degruyter.com/view/j/opphil.2019.2.issue-1/opphil-2019-0003/opphil-2019-0003.xml?format=INT
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