public art

Screenshot of one of the short films from 2097: We Made Ourselves Over by Blast Theory. Source: Blast Theory.

no. 3, Q & A, vol. 6July 8, 2021<July 8, 2021

The Mediapolis Q&A: Marcos Dias’ The Machinic City

by Tanya Lokot

In this installment of our Q&A series, digital media and society scholar and Editorial Board member Tanya Lokot interviews Marcos Dias on his recent book The Machinic City: Media, Performance and Participation.

Commentary, no. 2, vol. 6April 6, 2021<April 14, 2021

Projections that Give: Cauleen Smith’s COVID Manifesto (2020)

by Malini Guha

Malini Guha discusses filmmaker and multidisciplinary artist Cauleen Smith's month-long projection COVID Manifesto. She argues that, unlike methods of surplus accumulation that ensure neoliberal capitalism, the piece gives viewers time to pause, process, and grieve during the pandemic without asking for anything in return.

no. 1, Roundtables, vol. 5March 16, 2020<March 16, 2020

Screens in Public Space: Questions of Aesthetics and Access in a Moment of Social Distancing

by Annie Dell'Aria

Annie Dell’Aria discusses screen media’s potential to make both public space and private space—during times of social distancing—more porous.

Global Public Art, no. 4, vol. 2November 6, 2017<November 7, 2017

Ser Humano/Ser Urbano: How Urban Art in Mexico Became a Carrier for So-Called Universal Values

by Caitlin Bruce

In the first of her series of posts on transnational public art movements, Caitlin Bruce explores tensions around the relationship between urban identity and street art in Mexico.

no. 4, Trends, vol. 2October 18, 2017<October 18, 2017

Public Feeling: Rethinking Memorials and Monuments

by Annie Dell'Aria

Beyond acting as lightning rod for continued social and political divisions today, might there also be other cultural shifts related to monuments and memorials in public space at play? Recent literature on the contemporary memorial landscape from the field of art history engages with the shifting terrain of public feeling and performative utterances in the increasingly mediated contemporary city, analyzing both its pitfalls and its strengths in countering the presumed monolithic power of the monument.